Guest Post: How a 4Culture Grant Turned Me into a Teacher

Josh Tuininga is an author, artist, and designer based in North Bend, Washington and is a recipient of our 2020 Heritage Grant and Art Projects grants. His latest project is a historical graphic novel set in the multicultural Seattle Central District of the 1940s which explores the unique situation of Japanese and Jewish Americans living side by side during World War II. The project has been picked up by Abrams Comic Arts and will be released in Spring of 2023.

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Josh Tuininga is an author, artist, and designer based in North Bend, Washington and is a recipient of our 2020 Heritage Grant and Art Projects grants. His latest project is a historical graphic novel set in the multicultural Seattle Central District of the 1940s which explores the unique situation of Japanese and Jewish Americans living side by side during World War II. The project has been picked up by Abrams Comic Arts and will be released in Spring of 2023.

As a visual artist who works from a secluded converted school bus in the woods, teaching art in the community was the last place I thought I would end up this year. But everything changed when I was awarded a 4Culture grant.

I received my first 4Culture grant in 2020 which was extremely exciting for the project I was working on (a historical fiction graphic novel). From that point on, there was no doubt in my mind that I would complete my research and finish the work I had set out to do. The only part of the grant that I was apprehensive about was fulfilling my ‘Public Benefit’. One of the main requirements for a 4Culture grant is to provide the citizens of my community with some sort of cultural service. This was going to be a stretch for me, an artist who is much more comfortable heads down in my work rather than facing a public audience. But I was determined to meet the requirements, so I jumped in.

My plan was to present my research and the project to my community at a single small event. Since my focus is on sequential art and comics, I thought it made sense to share my work with an audience who might get the most out of it. I wanted to reach out to kids who had their own stories to tell.

I started by contacting Echo Glen Children’s Center. A maximum security facility for both male and female juvenile offenders in Snoqualmie, WA. I started with a very short volunteer session in one of the resident cottages on campus. Soon I found a few kids that already had sketchbooks of their own and who expressed interest in an art class. The Activities Coordinator and I organized an ‘art club’ and it slowly grew from there. Today, what started as a small public benefit event has grown into an ongoing weekly art class. I work with students to develop basic drawing skills like perspective and figure drawing, and we’ve moved on to other activities including animated flip books and character design. Eventually my work at Echo Glen expanded to the Two Rivers school in Snoqualmie, WA, an alternative ‘Big Picture’ school. I presented my graphic novel, led a drawing workshop and discussed how artists tell their stories using the sequential art form of comics.

After teaching and interviewing people while researching my graphic novel project, one thing I’ve learned is that there isn’t anyone I’ve met that doesn’t have a story to tell. I feel lucky to have the opportunity to encourage and enable young artists to tell their own stories through art.

Over the course of the last year, the grant requirement I was most concerned about has evolved into something that I plan on continuing and growing as a curriculum. As much as I love to hunker down in my bus and work on my own, fulfilling my grant has been a great reminder of the benefits of bringing art into the community and I have 4Culture to thank for that.

Find out more at bluebusart.com!

Guest Post: Exhibit Reimagined 20 Years Later

In this joint post, curators Maggie Kase at the Log House Museum and Heidi Bohan from the Duwamish Longhouse and Cultural Center share the history behind the new exhibit The Spirit Returns 2.0: A Duwamish and Settler Story, which was supported by 4Culture grants:

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In this joint post, curators Maggie Kase at the Log House Museum and Heidi Bohan from the Duwamish Longhouse and Cultural Center share the history behind the new exhibit The Spirit Returns 2.0: A Duwamish and Settler Story, which was supported by 4Culture grants:

The Spirit Returns 2.0: A Duwamish and Settler Story is a collaborative exhibit between the Duwamish Longhouse and Cultural Center and the Southwest Seattle Historical Society. The Spirit Returns 2.0: A Duwamish and Settler Story celebrates two decades of growth and progress. Collectively, we explore the authentic stories of the complex relationships of trade, managed and natural resources, social hierarchy, and the growing relationships between the Duwamish and non-native settlers who arrived in the 1850’s and together melded and transitioned into the Seattle we know today.

Together, we revisited and updated The Spirit Returns: A Duwamish and Pioneer Story which was hosted at the historical society’s Log House Museum in 2001. One of the biggest changes between the 2001 and 2021 iterations of the exhibit is the fact that Spirit Returns 2.0 is hosted in two locations: the Duwamish Longhouse and Cultural Center, and the Southwest Seattle Historical Society’s Log House Museum. The initial decision to revisit the exhibit happened in 2019, but most of the collaboration process occurred in 2020 and 2021 via Zoom.

At the Log House Museum, visitors will find an exhibit that explores the stories of key non-native settlers, and their early relationships with each other and with the Duwamish Tribe to set the stage for a celebration of contemporary collaborations and friendship between these communities. We examine a range of topics from why settlers wanted to move west in the first place, to how their arrival in the Seattle area changed pre-existing relationships with the Duwamish Tribe. Ultimately, Spirit Returns 2.0 ends on a note of growth, showcasing the progress that has been made in the 20 years since the first exhibit at the Log House Museum.

At the Longhouse we approached this exhibit from the perspective of what has now “returned” since the 2001 exhibit. The Duwamish Tribe now has a beautiful new longhouse constructed at an old village site along one of the only natural curves in the Duwamish River. We use the knowledge contained within the artifacts found at this village site as well as known place names nearby, as the basis to help tell the story of the lifeways of the Duwamish people past and present. The Tribe can now tell their own story in their own exhibit at the entrance to their own Longhouse, with objects ancient and new—many now returned to tribal ownership, others under their care.

As curators for these two very different, yet linked, exhibits we worked hard to listen and learn from those involved in the first exhibit, and, to what our leadership wanted to have told with this new exhibit. The words we heard again and again were “uplifting,” “celebratory,” “love,” “return.” Because this is a dual-hosted exhibit, one of the most important aspects we had to consider were the touchpoints between the two spaces that would make them feel like one project rather than two exhibits with the same name. What themes were we both exploring? How do our stories intersect? We spent many meetings discussing the nuances of language and approach, words such as “pioneer,” “party,” “industrious,” “first contact.” Pushing back against that language became one of the key ways we blended our stories together.

Finding those thematic overlaps was a great starting point. We expanded on connecting the exhibits as well through the loaning of collections objects between our organizations, and the graphic design and marketing materials for the exhibit. By showcasing artifacts from the other half of the exhibit at both locations, we were able to create clear connections and call-outs between both institutions. Using the same marketing materials and graphic direction overall was another way we were able to make the physical experience of the exhibit feel seamless and interconnected in both spaces.
Underlying this story is the lasting friendship between the Log House Museum and the Duwamish Longhouse, also represented in other community collaborations such as the Real Rent program which supports the Duwamish Tribe.

We are still planning joint school tours and public programs, virtual or in-person. The Longhouse exhibit is ongoing, and will continue to be expanded while the Log House Museum will close their exhibit April 17, 2022. See the two exhibits at the9 Duwamish Longhouse and Cultural Center and Log House Museum today!

Guest Post: Marilyn Montúfar Spotlights Migrant Youth

Marilyn Montúfar, Yaneyda, dimensions: 20”x20”, medium: archival pigment print .

Marilyn Montúfar is a recipient of our 2021 Art Projects grant and exhibited her photography at Gallery 4Culture in February 2018. Here, she shares how she’s putting her grant funds to work:

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Marilyn Montúfar is a recipient of our 2021 Art Projects grant and exhibited her photography at Gallery 4Culture in February 2018. Here, she shares how she’s putting her grant funds to work:

Hello, my name is Marilyn Montúfar, I’m a photographer, activist, and educator. I am a recipient of the 4Culture 2021 Art Projects grant for the project Migrant Youth–a photography project and educator collaboration, highlighting migrant youth in rural Washington. The photography series bridges my photography with youth writing. Since October 2020, the participating youth have committed to attending weekly remote meetings and have been mentored in writing, photography, and art collaborations. The youth are mentored in art by me, and in self-expression through writing by Underground Writing—a literature-based creative writing program.

The project began in 2020 as I listened to stories of how COVID-19 was disproportionately impacting farmworking communities. I reached out to a club in Skagit County that worked with migrant youth in the farmworking community. I pitched the idea of creating a photography and writing project that shares a story about identity, family, and coming of age during the pandemic from the perspective of migrant youth. At the time, the club was led by educator Marco Morales of Migrant Leaders Club and the students had previously worked with Underground Writing, successfully publishing their writing in two books. Since our initial meeting, the work we have collectively created through photography and youth writing has been exhibited in 2021 from west to east coast and showcased at locations such as the Jacob Lawrence Gallery in Seattle, Strange Paradise Gallery in Portland, OR, and more recently at the Chautauqua Visual Arts Gallery in Chautauqua, NY.

On Thursday, October 7, 2021, after one year of mentorship in the collaborative art and writing process, the youth will join me, Marco Morales, and Matt Malyon, Executive Director of Underground Writing in sharing their writing for their first artist talk during Latinx Heritage Month for the Mexican Consulate’s MEX-AM Festival. Please join us in celebrating their story, here and now.

RSVP on Eventbrite.

Marilyn Montúfar, Juli, dimensions: 36”x36”, medium: archival pigment print.

After 30 Years, Silhouettes and Cutups Finds a New Home

Cris Bruch. Silhouettes and Cutups (detail), 1989. Corten steel. Vashon, WA. King County Public Art Collection. Photo: joefreemanjunior.com

King County Metro’s Northgate Transit Center opened to the public on June 6, 1992. Artist Cris Bruch was a member of the original design team. He worked closely with architects Zimmer Gunsul Frasca of Portland and Barbara Oakrock of Seattle to influence the overall look and feel of the site. In addition, he created fifteen free-standing Corten steel sculptures for the urban landscape – eight larger animal silhouettes and seven smaller animal cutouts. These Silhouettes and Cutups represent his first-ever public commission.

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King County Metro’s Northgate Transit Center opened to the public on June 6, 1992. Artist Cris Bruch was a member of the original design team. He worked closely with architects Zimmer Gunsul Frasca of Portland and Barbara Oakrock of Seattle to influence the overall look and feel of the site. In addition, he created fifteen free-standing Corten steel sculptures for the urban landscape – eight larger animal silhouettes and seven smaller animal cutouts. These Silhouettes and Cutups represent his first-ever public commission.

Now, almost 30 years later, the site is home to Sound Transit’s newest light rail station and another permanent artwork by Bruch. Due to this redevelopment and expanded use, 4Culture was asked to find alternative placement for the sculptures. Artwork in the King County Public Art Collection often needs to be moved to accommodate growth, but not all situations result in such generous partnership and resource sharing. STart (the Sound Transit art program), King County Parks, King County Metro, ArtSite Ltd., and numerous community stakeholders contributed to the successful transfer of Bruch’s work from Northgate to King County’s Island Center Forest (ICF) Westside Trailhead on Vashon Island.

An ideal location for the spirited art, the ICF natural area is bit wild and untamed but already manipulated by human interventions such as fencing, signage, and the clearing and excavation that created a borrow pit for the neighboring Vashon Island Recycling and Transfer Station. The soft-surface trail sees regular pedestrian and equestrian traffic and is easily accessed via a maintenance road.

Cris Bruch. Silhouettes and Cutups, 1989. Corten steel. Vashon, WA. King County Public Art Collection. Photo: joefreemanjunior.com

I think this new location is so much better than the original site. There is space to see the work clearly, there’s enough space between the sculptures to create anticipation and surprise. Island Center Forest is a treasure, and I hope Silhouettes and Cutups are well received, and that they inspire affection for the whole forest. – Cris Bruch

Cris Bruch. Silhouettes and Cutups (detail), 1989. Corten steel. Vashon, WA. King County Public Art Collection. Photo: joefreemanjunior.com

Guest Post: Summer of Virtual Internships

To offer a capacity-building and professional development opportunity during the pandemic, our Heritage department implemented the King County Heritage Virtual Internship Program as a 3-month virtual program. Three host organizations were selected through a competitive panel process in early 2021: StoryBoards in Sammamish, the Klondike Gold Rush National Historical Park in Seattle, and the Kenmore Heritage Society. Interns have been working on their projects since June; as they near the end of the program, we asked them to share what their experience has been like this summer.

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To offer a capacity-building and professional development opportunity during the pandemic, our Heritage department implemented the King County Heritage Virtual Internship Program as a 3-month virtual program. Three host organizations were selected through a competitive panel process in early 2021: StoryBoards in Sammamish, the Klondike Gold Rush National Historical Park in Seattle, and the Kenmore Heritage Society. Interns have been working on their projects since June; as they near the end of the program, we asked them to share what their experience has been like this summer.

Ann Kousin
My name is Ann. I am working with the organization StoryBoards this summer. I’m helping to gather oral histories regarding the experiences of Chinese-American poets and artists who used their art for activism in the 1960s and 1970s. My day-to-day responsibilities include collecting data to establish context for Chinese American activism during the Civil Rights Movement, reading and summarizing my findings, and helping the Project Manager create specific questions relevant to the person providing the interview.

It has been a creative and exciting learning experience. I have gotten to know Chinese American poets and artists and activists with diverse perspectives and stories I wouldn’t have learned about otherwise had it not been for this opportunity. And that part of the internship has been gratifying for me. Although it is only a 12-week internship, I feel I have gained a better understanding of the process of creating a podcast.

Lena Rodriguez
The 4Culture KHS Summer Heritage Internship was developed to aid in the Kenmore Heritage Society’s effort to engage people where they are and give voices to those who have been overlooked or underrepresented. Over the course of the summer, I worked with a project advisory committee to develop a new strategic plan centered around Healing Arts and Restorative Practice, multidisciplinary research methodology and a list of timeline additions oriented around Coast Salish peoples in the area of Kenmore and Lake Washington to assist the Society in becoming more inclusive and comprehensive in their community building outreach initiatives. As a result of this Internship, I will be working at KHS for the next school year to continue to support the Society in their initiatives and implementation of my Strategic Plan and Research Methodology.

During my internship, I also received Tribal Government Training from Lisaaksiichaa Ross Braine that will be extremely helpful as I move forward in writing my Master’s thesis on DEAI best practices for Museum Exhibition, Programming, and Interpretation. As well as my continued research into the impacts and manifestations of colonization in the Americas, I hope that my research and work will contribute to a more inclusive future and help to foster a healthier, stronger, and more connected community not only in Kenmore, but beyond.

Rebecca Lawler
In My Backyard is an award winning, youth-based leadership program that started at Klondike Gold Rush National Historical Park. Their goal is to help foster the next generation of stewards and create opportunities for communities that have been historically underserved and excluded from the National Park Service. This summer, 4Culture gave me the opportunity to work with IMBY as a mentor to 16 high school youth interns. I had three main goals for my internship: make meaningful connections with youth interns and Klondike team members, design presentations and lesson plans surrounding nature and equity, and finally to learn more about Seattle and the National Parks Service.

My internship started with me meeting the team and learning about the area. Then, I met the youth interns and learned about their interests. After that, I prepared for weekly meetings by creating examples of deliverables for youth interns to submit and lesson plans on topics like the outdoors, social justice, mental health, and art. I co-host weekly team meetings and provided additional support to the youth interns’ questions as needed during their five-week program. I accomplished guiding the youth interns in connecting with the nature around them. I’m finishing up my time at Klondike Gold Rush National Historical Park by organizing feedback from youth interns and brainstorming new ideas for next year. I learned that the next generation can save the world and that mentoring is about valuable connections, not just educating. I am so thankful for the opportunity to be introduced to the National Parks Service through 4Culture!

Meet the 2021 Arc Artist Fellows

Our Arc Artist Fellowship provides critical—but rare—unrestricted funding to a new and unique cohort of King County artists every year. The six 2021 Fellows are all between the ages of 18 and 25 and are creating art that challenges structures of power in the global fight for social justice. Here’s your chance to meet this incredible group! Join us for a two-part virtual showcase to hear from each artist about their work:

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Our Arc Artist Fellowship provides critical—but rare—unrestricted funding to a new and unique cohort of King County artists every year. The six 2021 Fellows are all between the ages of 18 and 25 and are creating art that challenges structures of power in the global fight for social justice. Here’s your chance to meet this incredible group! Join us for a two-part virtual showcase to hear from each artist about their work:

September 1, 12:00–1:00 pm
Register
• Diego Binuya
• Saiyana Suzumura
• Monyee Chau
Hosted by 2020 Arc Fellow Anastacia-Renee Tolbert

September 8, 7:00-8:00 pm
Register
• Kayla Stokes
• Joyee Runninghawk
• Mikhail Calliste
Hosted by 2019 Arc Fellow Nic Masangkay

Separate registrations are required for each session. Once you register, you’ll receive a confirmation email with a link and password to the virtual event—hang onto this email! Please contact lauren.semet@4culture.org if you have any trouble registering. Sessions will be captioned.

Sustained Support Program Update

For those of you who are current Sustained Support recipients or interested in applying to 4Culture’s Sustained Support program for funding in 2022, we want to let you know of some significant, temporary changes to the program. We historically have been, and will continue to be, deeply committed to supporting the cultural sector with operating funds. With this year’s significant reduction of the lodging taxes that make 4Culture’s grant programs possible and the approval of the American Rescue Plan Act, operating support will look different in 2021 for funding in 2022.

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For those of you who are current Sustained Support recipients or interested in applying to 4Culture’s Sustained Support program for funding in 2022, we want to let you know of some significant, temporary changes to the program. We historically have been, and will continue to be, deeply committed to supporting the cultural sector with operating funds. With this year’s significant reduction of the lodging taxes that make 4Culture’s grant programs possible and the approval of the American Rescue Plan Act, operating support will look different in 2021 for funding in 2022.

4Culture and King County will partner this fall to distribute over $29 million to the arts, culture, heritage, historic preservation, and science education sectors in 2022. We are currently working closely with King County agencies and will have more details to share mid-September. In the meantime, we will not open our Sustained Support grant for applications in late August, as we usually do. We thank you for your patience as we coordinate with our County partners and build our programs.

Please note that 2021 Sustained Support awards are not impacted by these changes.

Robert Morris Earthwork Listed in the Washington Heritage Register

Robert Morris’ celebrated Untitled Earthwork (Johnson Pit #30), one of the first ever publicly-funded Land Art projects, is now listed in the Washington Heritage Register.

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Robert Morris’ celebrated Untitled Earthwork (Johnson Pit #30), one of the first ever publicly-funded Land Art projects, is now listed in the Washington Heritage Register.

This honorary designation brings the site one step closer to precedent-setting inclusion on the National Register of Historic Places, potentially paving the way for other earthworks in need of protection.

The intensive nomination process was led by Rich Freitas, Historical Landscape Architect at the National Park Service, and Kasia Keeley, Associate Designer at Mithun, alongside 4Culture staff Dana Phelan, Kelly Pajek, and Jordan Howland. Numerous art and design professionals, the Cultural Landscape Foundation, and State Architectural Historian Michael Houser lent support as well.

Robert Morris (1931-2018). Untitled Earthwork (Johnson Pit #30), 1979. SeaTac, WA. King County Public Art Collection. Photo: Colleen Chartier

Inspired by early efforts to use art as a means for rehabilitating abused post-industrial sites, 4Culture‚ then known as the King County Arts Commission‚ sponsored an innovative symposium called Earthworks: Land Reclamation as Sculpture in 1979.

The Commission brought together a unique team of government agencies and artists to discuss the potential of earthworks—large-scale sculptures that use the earth itself as their medium—and to create historic public artworks designed to restore natural areas damaged by industry.

Robert Morris received the first demonstration project commission. He removed undergrowth from an abandoned 3.7-acre gravel pit in the Kent Valley, terraced the earth, and planted it with rye grass, in effect returning the land to active use. Decades later, the destination continues to serve as a community gathering place.

Robert Morris (1931-2018). Untitled Earthwork (Johnson Pit #30), 1979. SeaTac, WA. King County Public Art Collection. Photo: Joe Freeman

You can learn more about Morris and Johnson Pit #30 on our website and visit from dawn to dusk 7 days per week.

Congratulations, 2021 Projects Grant Awardees!

Monique Franklin will  use 4Culture Project grant funds to relaunch her preschool arts program Inspired Child Virtuoso Artist Labs, producing free virtual classes. Photo courtesy of Monique Franklin, 2021.

Doing cultural work amidst a global pandemic is no easy feat. King County creatives of all disciplines have faced closures, loss of work, and uncertainty—and we at 4Culture are navigating COVID-19-related financial challenges as well. Throughout it all the cultural sector’s creativity shines through undiminished, and that’s especially evident in our 2021 Projects grant awardees!

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Doing cultural work amidst a global pandemic is no easy feat. King County creatives of all disciplines have faced closures, loss of work, and uncertainty—and we at 4Culture are navigating COVID-19-related financial challenges as well. Throughout it all the cultural sector’s creativity shines through undiminished, and that’s especially evident in our 2021 Projects grant awardees!

We’re honored to support the work of these individuals, groups, and organizations and excited to see their projects unfold in the coming year. As COVID restrictions loosen in King County and we collectively emerge into a deeply changed world, we encourage you to also look to these projects for inspiration and healing. Browse them all:

Arts–Individuals
Arts–Groups
Heritage
Preservation

…and read up on a few highlights:

  • “Telling Bothell’s Full Story” seeks to rewrite the accepted historical built environment narrative, one from the perspective of white settlers, to include the history of communities whose history has been glaringly absent. The Landmark Preservation Board will convene a task group to advise staff and guide project development and research.
  • Monique Franklin will relaunch her preschool arts program Inspired Child Virtuoso Artist Labs by producing 48 free Virtual Classes for community and in-home daycares as well as recording a pilot episode of a web series.
  • The Lee Arts Foundation is presenting Rock the Nation Music and Arts, a free festival in Carnation featuring local musicians and interactive art activities for the whole family.
  • Artist Raven Two Feathers will create a documentary film series exploring Indigenous people who are shirking the gender binary and their experiences, juxtaposed to elements of the local lands and waters.
  • Enumclaw’s Imagination Theatre, will teach theatre to youth of the Plateau culminating in the production of Seussical Jr, and a celebration on July 31 at McFarland park.
  • In response to the recent spate of violence and hate towards the AAPI community, Juliana Kang Robinson will collaborate with local AAPI women artists to create a visual art campaign that promotes messaging of anti-hate and racial solidarity.
  • Julie Seitz will research, prepare, and present a Landmark Nomination for the historic Seattle Pet Cemetery located in Kent.

Deep gratitude goes to our grant panelists, who carefully and thoughtfully evaluated each application and made tough funding decisions in an especially challenging year. Thank you for your dedication to King County culture!

Learn more about our Projects grants here.

Meet the Artists Selected to Create Limited-Edition ORCA Cards 

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Along with our partners King County Metro Transit and RapidRide, we are thrilled to share that three exceptional young artists will create limited-edition ORCA cards to celebrate the launch of three new RapidRide lines. Each artist’s work is distinct and will feature deliberate ties to the contexts, histories, cultures, and communities of these new lines.

The cohort will be joined by mentor artists Angelina Villalobos and Jesse Brown, who will support these artists as they do research, develop proposals, and have those proposals reviewed and approved by oversight boards and the Public Art Advisory Committee. These special ORCA cards will be distributed when each of the lines begin service, beginning in 2021-22 until 2024.

Many talented young people applied for this opportunity, and we want to recognize the incredible amount of time and work every single one of them invested in their application. Please check out a sampling of all of the applicants’ work in this gallery!

In order for you to learn a bit more about the selected artists and their work, we’ve asked each of them to share a favorite memory of riding the bus; unsurprisingly, they all have a meaningful relationship with public transit:

Yasiman Ahsani, 25
RapidRide G Line (Madison, Downtown, West Seattle)

Even the Sun is Angry, 2020. Digital painting.

Currently based in Seattle, WA, Yasiman is an Iranian-American artist who uses bold colors, shapes, and patterns inspired by her Middle-Eastern culture. She loves commemorating her family's roots through her art, combining elements of her heritage with her American experience. Initially a 2D and 3D digital artist, Yasiman has branched out to include other mediums such as acrylic painting and traditional print, bringing to life the visions of the communities and organizations she has worked with. She enjoys illustration and sharing the quirky characters and imagery in her head for others to experience. You can explore her range of work at yasiman2d.com.

Self-portrait by artist.

Yasiman’s favorite bus memory:
I was on the bus with my dog to take him to the vet. For whatever reason that day, he was an instant celebrity and attracted a lot of sweet attention. One woman who sat next to me shared photos of her pets and mentioned how she'd been taking this same bus line for many years to get to work. We briefly discussed how great public transportation is, especially for letting us bring our pets on board, and how it's crucial to the inner workings of this city. It was such a wholesome experience casually chatting with so many kind people that day who also appreciated my dog!

Rey Daoed, 19
RapidRide I Line (Renton, Kent, Auburn)

Waiting for the Bus, 2021. Acrylic on paper.

Born in Seattle and currently based in Sammamish, Fareyza Daoed—often called Rey by his family and friends—is diagnosed with autism and apraxia of speech. Typing, handwriting, and text-to-speech apps are his preferred method of communication. Rey began painting in 2015, and the medium soon became an important secondary means of communication for him. Rey’s award-winning work has been featured in group exhibitions both locally and abroad. Rey is heavily influenced by old masters like Henri Matisse, Van Gogh and Der Blaue Reiter. Rey is also influenced by the newer artists like Keith Haring and David Hockney. Find out more about Rey’s work here.

Rey working in the studio

Rey’s favorite bus memory:
My favorite memory riding the bus was when I was young. My parents took my brother and I downtown with the bus and we rode the monorail to Seattle Center. That was fun. I also remembered I like to meet my dad in Downtown Bellevue when we had summer breaks from school.The bus drivers are always helpful whenever I need any information.

Jovita Mercado, 22
RapidRide H Line (Delridge, White Center, Burien)

El Campesino, 2021. Digital art. Created for the City of Seattle Office of Arts & Culture Public Art Boot Camp, to be installed as a series later this summer at Seattle Center.

Jovita Mercado, a Chicana living on the hyphen of the word Mexican-American, asks why women of her ethnicity are subjected to brutality and ill-treatment and why there is a lack of history surrounding her identity. These questions drive her practice and uncover a history of the United States exploiting her ethnicity while revealing how colonization has manifested into her ethnicity’s oppressive gender expectations. She makes work in response to the prolific amount of violence and abuse that has been occurring at the U.S./Mexico border and border-related lands like her hometown of Yakima, Washington. Her work attempts to humanize her identity away from political jargon that leaves her community vulnerable to recurring violence. Through her act of making, she also memorializes her culture’s accomplishments and resiliency in hope that it distills pride in her community and inspires others. Find out more about Jovita’s work here.

Jovita’s favorite bus memory:
One of my favorite memories on the bus was when I was a freshman at the University of Washington. I just moved from Yakima to Seattle. I knew nothing about the city other than the basic tourist attractions. My friends needed some dorm essentials. So we went on a bus. This was the first time I used the transit system in Seattle. I was paranoid about missing my stop, but at the same time, I was thrilled to be in the city. I was fascinated by the ever-changing architecture. There were old buildings beside new ones. I was curious to know the stories that they held. I saw Peruvian, Vietnamese, and Indian restaurants. I wanted to eat at all of them! I want to try everything! I wondered which one would become my favorite spot. The bus later drove by record shops, fortune tellers, and thrift stores. I dreamt of meeting new people, seeing new perspectives, and building new memories. This moment I had riding the bus led to many more memories of exploring the city through the transit system. As an individual without a car, Seattle’s bus system gives me the independence to move freely around the city no matter my social-economic status.

Ways to Learn, Celebrate, and Act this Juneteenth

NIle's Edge Healing Arts will host a walking meditation this Juneteenth. See post for details. Photo courtesy of Sadiqua Iman.

This year, Washington State recognized Juneteenth as a paid state holiday after the dedicated advocacy of many. This day is commemorated on June 19 as a day of remembrance for the day enslaved African-Americans living in Texas learned of their freedom. The new law also encourages Washingtonians to use the day to revisit our solidarity and commitment to antiracism, educate ourselves about slave history, and continue having conversations that uplift every Washingtonian. Here are some ways to do that:

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This year, Washington State recognized Juneteenth as a paid state holiday after the dedicated advocacy of many. This day is commemorated on June 19 as a day of remembrance for the day enslaved African-Americans living in Texas learned of their freedom. The new law also encourages Washingtonians to use the day to revisit our solidarity and commitment to antiracism, educate ourselves about slave history, and continue having conversations that uplift every Washingtonian. Here are some ways to do that:

Juneteenth Week
All week; various times
Virtual events with the Northwest African American Museum and community partners.

ELEVATE (v.) raise or lift to a higher position
Wednesday, June 16 at 6:30 pm
Presented by Seattle Theatre Group in collaboration with Historian and President of the Black Heritage Society of Washington State, Stephanie Johnson-Toliver.

1619: Resistance / Resilience / Remembrance
Saturday, June 19, 2:00 pm
Virtual event featuring Mr. Delbert Richardson of the national award-winning American History Traveling Museum: The Unspoken Truths. Co-sponsored by BHS and MOHAI.

No Healing, No Peace: A Walking Meditation for Black Liberation
Saturday, June 19, 10:00 am–1:00 pm
Join Nile’s Edge Healing Arts for a guided walking meditation in Dr. Martin Luther King Junior Memorial Park.

ORCA Card Applicant Gallery

As King County Metro Transit prepares to launch three new RapidRide lines, we're proud to help celebrate the expansion by commissioning a cohort of artists to create three limited-edition ORCA cards to correspond with each new route. Meet the artists and learn about their work and watch for their artwork as buses roll out in 2022 through 2024.
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As King County Metro Transit prepares to launch three new RapidRide lines, we're proud to help celebrate the expansion by commissioning a cohort of artists to create three limited-edition ORCA cards to correspond with each new route. Meet the artists and learn about their work here, and watch for their artwork as buses roll out in 2022 through 2024.

The eligibility requirements for this call for artists were notable, open only to young artists between the ages of 16 and 25. We received an incredible pool of applications—too incredible, in fact, not to share! Click through the gallery below for a work sample from every applicant and keep an eye out for them as they continue to create:

Yasiman Ahsani, Red Girl, 2020. Digital painting.
Noelle Anches, Famous Sketches, 2021. Pencil on paper.
Sofia Cababa, Wood Garden, 2021. Digital.
Soleil Cababa 3065, 2019. Digital broadcast package.
Myah Canup, Happy Place? , 2021. Acrylic.
Andrea Chen, Support the USPS Sticker Series, 2020. Digital.
Stella Christoforou, Topical! , 2020. Acrylic on paper.
Mia Cyger, Northwest Pink, 2021. Oil.
Rey Daoed, Changes II, 2020. Acrylic on canvas.
Catriel Duffin, Somewhere Nice, 2020. Digital-Photoshop CC.
Haneen Elhaj, Ramadan Mubarek, 2021. Digital watercolor.
Sophia Fang, Technicolor, 2021. Gouache, watercolor.
Hoa Hong, From North to South, 2020. Aerosol paint, mural for King Way Hair Salon.
Nilu Imanipassand, Bathroom Toast to Ghosts (pink) , 2021. Pen and ink, digital.
Elijah Johnson, Hypnophobia, 2020. Digital.
Xavier Kelley, Roaring 20’s, 2020. Acrylic and oil stick on canvas.
Yuki McKenzie, History, 2018. Acrylic on wall, mural for Franklin High School.
Kyle Melendez Daigre, Water of Life Character Lineup, 2020. Digital.
Jovita Mercado, From Yakima to Burien, 2020. Mixed media printed on vinyl wrap.
Cameron Miller, Twitch Graphics Showcase, 2020. Digital Vector Art.
Sadie Moss, Black and White Trumpet Installation, 2021. Digital.
Inocencio Orta, Capstone Sample, 2021. Photoshop layering.
Diana Palma Garcia, In Silence, 2020. Digital painting.
Marian Picard, Waterline, 2019. Borosilicate glass, mahogany, tree root.
Marcella Posito, Just One of the Birds, 2019. Digital art, Art Studio Pro.
Jessica Reitan, Breathe, 2020. Collage and acrylic.
Sanjita Rishikesan, Love in Waiting, 2020. Acrylic on canvas paper.
Hamsa Shankar, Indian Village Scene, 2020. Acrylic on canvas.
Stevie Shao, Tidepool, 2021. Digital.
Betsy Siegal, Grammy, 2019. Colored pencil on paper.
Meital Smith, Alice and Zedmore, 2020. Digital – Photoshop.
Aranza Torres Silva, Origami Angel, Fridge Trading Card, 2020. Digital.
Jordan Trahan, Specter, 2020. Digital.
Devoni Whitehead, Abundance, 2021. Digital.
Taylor Yingshi, Decolonize!, 2020. Digital.
Taylor Younker, Quench Case Study Branding, 2021. Digital, Photoshop and Illustrator.

Vax to the Max!

Our Future is Together. Let's Vaccinate Today.

This summer, art meets vaccines! We’re thrilled to partner with Public Health—Seattle & King County to use art to help get King County closer to its vaccination goals.

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This summer, art meets vaccines! We’re thrilled to partner with Public Health—Seattle & King County to use art to help get King County closer to its vaccination goals.

These art-filled vaccination events are called Vax to the Max, and they’ll feature performances by musicians from our Touring Arts Roster and custom buttons designed by local artists. Missing live music? This is a great way to experience it again! Want to let others know you’re vaccinated? Say it with an “I got vaccinated” button by artists Lilly Alexander, Raychelle Duazo, Kelly Froh, Elaine Lin, Teddy “Stat the Artist” Phillips, Fulgencio Lazo, Blanca Santander, and Sheri Stephens!

Buttons designed by Kelly Froh for visitors to the King County vaccination site at ShoWare Events Center in Kent, May 2021. Photo by Erin Murphy.

So far, this pilot program has brought Miz Floes and the Jazzy Sol Band and Elnah Jordan to Washington Hall in Seattle’s Central District, the Seattle Women’s Steel Pan Project to Kent’s ShoWare Events Center, and Mambo Cadillac to the vaccination site at the Auburn Outlet Collection.

Watch for more Vax to the Max programming through June at community vacination pop-ups throughout King County—we’ll share details as they’re confirmed.

Guest Post: Behind the Scenes of Seattle Southside Scenes

Seattle Southside Scenes Art History Culture

The Seattle Southside Regional Tourism Authority (RTA) is celebrating the uniqueness of our place through a new storytelling campaign called Seattle Southside Scenes, designed to share extraordinary local stories with the world:

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The Seattle Southside Regional Tourism Authority (RTA) is celebrating the uniqueness of our place through a new storytelling campaign called Seattle Southside Scenes, designed to share extraordinary local stories with the world:

The heart of a region stems from the people of the place. The stories from a community give the region personality and meaning. And the people of Seattle Southside have some fascinating stories to tell!

The RTA is going behind the scenes of Seattle Southside’s most captivating public art locations, rich historical sites, and diverse cultural communities to tell the lesser-known tales of these sites in a new digital storytelling campaign and mobile Scenes Trail. As the regional destination marketing organization for the cities of SeaTac, Tukwila, and Des Moines, the RTA is uniquely positioned to uncover and tell these authentic, local stories that have largely existed only at the community level. By widening the audience to the world, visitors to Seattle Southside will now have a more intimate connection with the people who live and work here, enabling better travel experiences that are rich with meaning.

It is the backstory of “Big Catch” that evokes a sense of mystery as to the meaning behind the unusual public sculpture of a fisherman entangled with a fish, who strangely has breasts. The story behind the abandoned gravel pit turned public artwork, Robert Morris Earthwork, gives the carved terraced circles significance as the first land-reclamation sculpture in the nation. And the history of Duwamish Gardens and its connection to the legendary Pike Place Market makes visitors feel a sense of wonder while walking its trails.

Travelers are looking for more meaningful travel experiences and more intimate connections with the people of a destination. They want to feel something when they visit a place and understand what makes that place special. These are the hidden stories that live in the collective minds of the people who live here. These are the stories, like the one of the Good Bootlegger, Roy Olmstead, who ran one of the most successful bootlegging enterprises in the Country, that locals toast to in remembrance.

In a destination like Seattle Southside, which incorporates SEA, the 9th busiest airport in the nation, visitors can sometimes see this region as a throughway, a place to stay the night before their flight, with an easily accessible freeway to go to where they are going. But the cities surrounding the Airport have intriguing sites with fascinating stories that visitors to the area might miss if not aware. These stories can encourage a traveler to exit the light rail at Angle Lake Station to spend some time admiring the shimmering “Cloud” art installation because, through these stories, they now know the interesting tale of its development.

For some, travel is more than a vacation; it is an opportunity to be in the exact spot where something real happened. Stories can draw in those visitors to stop in at the historic Zenith Holland Nursery, or to look for that mural on the side of the building, the one that depicts the first reported UFO sighting in the United States and the first description of “Men in Black”. These are the stories that remain with people after they return home.

It is also important to the RTA that this campaign brings to prominence voices that are often underrepresented. The communities of Seattle Southside are some of the most diverse in the country. People from over 50 countries of origin, speaking over 70 languages, call Seattle Southside their home. This diversity shines through in everything from the dining scene and unique shopping experiences to cultural events and festivals. The voices of people from all backgrounds contribute to a shared community experience. Like the stories from the ambitious women of Spice Bridge International Food Hall, whose passion for sharing their food traditions with others stems from their experience as immigrant women. Through these stories, the RTA hopes to encourage deeper understanding and appreciation for the multicultural community that is Seattle Southside.

Good storytelling can capture the senses by creating a sense of wonder, a curiosity for exploration, and an understanding that there is more to a place than meets the eye. Through this campaign, Seattle Southside RTA is connecting the traveler to the heart and soul of this place and to the authentic experiences this place offers for a more meaningful visit and more memorable experience.