We are thrilled to announce that Laura Da’ has been selected as the next Poet Planner for the 2023-2025 4Culture poetry program. Laura will work with 4Culture, King County Metro, and communities across King County to shine a light on diverse poetic traditions and empower people of all ages to write poems—whether they consider themselves to be a poet or are writing a poem for the first time.
A poet and a public school teacher, Laura Da’ studied creative writing at the University of Washington and the Institute of American Indian Arts. She is the author of the collections Instruments of the True Measure (University of Arizona Press, 2018), winner of the Washington State Book Award, and Tributaries (University of Arizona Press, 2015), winner of the 2016 American Book Award and the chapbook The Tecumseh Motel. Her work has appeared in the anthologies New Poets of Native Nations (Graywolf Press, 2018) and Effigies II (Salt Publishing, 2014). Da’ is the current Poet Laureate of Redmond and a recent writer in residence at Hugo House.
A member of the Eastern Shawnee Tribe, she received a Native American Arts and Cultures Fellowship. Da’ has also been a Made at Hugo House fellow and a Jack Straw fellow. She is a lifetime resident of the Pacific Northwest and lives in Newcastle, Washington, with her husband and son.
The 4Culture poetry program began as Poetry on Buses, a partnership with King County Metro in 1992. Poems by local writers replaced advertising placards above bus seats on a biennial basis through 2007. In 2014-2015, the program was rebooted and explored the theme “Writing Home” in five languages: English, Russian, Somali, Spanish, and Vietnamese. The 2016-2018 Poetry on Buses explored the theme “Your Body of Water” with a focus on African American, Chinese, Ethiopian, Punjabi, Spanish-speaking, and Urban Native communities in King County.
4Culture is launching a new version of the program for 2023-2025, reflecting the program’s expansion beyond buses to different forms of transit and places accessed by King County Metro including transit stops and public open spaces.
We’ll announce more details about the program and how you can get involved soon—stay tuned!
Earthworks and oil paintings. Bronzes and mosaic murals. Artist-designed bridges and transit experiences. Today the King County Public Art Collection contains nearly 2,500 works of art in a vast array of forms and materials. Whether made by an emerging artist or an established expert, each of these works has a story. How was it created? What inspired it? What does it say about our cultural history?
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Earthworks and oil paintings. Bronzes and mosaic murals. Artist-designed bridges and transit experiences. Today the King County Public Art Collection contains nearly 2,500 works of art in a vast array of forms and materials. Whether made by an emerging artist or an established expert, each of these works has a story. How was it created? What inspired it? What does it say about our cultural history?
Over the past few years, 4Culture has been crafting hundreds of these stories about artworks in the collection, revealing details about the origins of individual pieces and the artists and artisans who made them. In the months ahead, we’ll be spotlighting the collection’s works, themes, processes, and locations, including new acquisitions and commissions.
“The collection really speaks to shifts and trends in culture,” says Kelly Pajek, 4Culture’s public art program director. “It helps us better understand our communities and our collective identity— and it belongs to all of us. That’s the beauty of public art.”
Melinda Hurst Frye. Arboretum Trail, 2018. Archival Inkjet print. 30 x 40 inches. King County Public Art Collection
In 1973, King County became one of the first governments in the nation—and the first in Washington—to pass a 1% for Art ordinance establishing a dedicated source of funding for the acquisition of artwork. In the 50 years since, 4Culture, formerly the King County Arts Commission, has built an impressive collection that you can readily access in all sorts of public spaces, from airports to parks, bridges to water treatment centers, buses to courthouses.
Along the way, we also became one of the country’s most innovative public art programs by taking strategic risks and centering artists and their ideas. We created, and continue to create, opportunities for artists and arts professionals to influence public policy, stimulate dialogue, and shape the world we live in. Working together, we are always seeking out and finding ways for art to add meaning to the day-to-day lives of our families, friends, and neighbors.
The King County Public Art Collection reflects many significant aspects of our region, not only through objects but through experiences like interactive performances and audio installations. It features works from the Studio Glass movement and paintings by the internationally celebrated Northwest School. It highlights the traditions of the area’s Indigenous peoples as well as traditions brought here by immigrants from around the world. It celebrates the trees, mountains, and water that define our home.
We look forward to sharing stories about all of these topics and more in the months ahead. In the meantime, we encourage you to begin exploring our ever-growing online trove of artwork profiles!
Yasiman Ahsani, Rey Daoed, and Jovita Mercado. Custom ORCA Cards, 2023. King County Public Art Collection. Photo: www.joefreemanjunior.com
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4Culture and King County Metro are thrilled to announce the release of a series of limited edition ORCA cards in celebration of the RapidRide Expansion Program.
Three exceptional emerging artists, Jovita Mercado, Yasiman Ahsani, and Rey Daoed, supported by mentors Angelina Villalobos and Jesse Brown, have created distinctive imagery tied to the contexts, histories, peoples, and cultures that define the new RapidRide H Line as well as the forthcoming G and I Lines.
RapidRide represents Metro’s highest level of investment in service, amenities, reliability, and innovation in the form of bus rapid transit. These lines look, feel, and operate more like trains with permanent stops and shelters, real-time arrival information, off-board fare payment, branded red and yellow buses, and more.
The custom cards will be distributed at community events and made available at the King Street Center Pass Sales Office throughout 2023 (while supplies last), beginning with Jovita Mercado’s H Line design.
“My design commemorates the people who proudly display their identities and cultures. For they’re the foundation of Burien, White Center, and Delridge. These cards immortalize the diversity that people bring to create such vibrant communities.”
Jovita Mercado, RapidRide H Line (Delridge, White Center, Burien) – launched in March 2023
“My design was heavily inspired by my heritage, but most importantly, I focused on how living in the city has reconnected me to my roots as an Iranian-American. For all of my middle eastern sisters: زن. زندگی. آزادی. (Women. Life. Freedom.)”
Yasiman Ahsani, RapidRide G Line (Madison, Downtown, West Seattle) – launching in 2024
“Pictures and sketches of passengers made while riding the bus informed my design. I was influenced by the distinctive RapidRide color scheme too. By flipping the image vertically, it became unexpected and special – a perfect way to celebrate this new route.”
Rey Daoed, RapidRide I Line (Renton, Kent, Auburn) – launching in 2025
This project was guided by the recommendation for artist-designed ORCA cards included in the RapidRide Art Plan, commissioned by 4Culture and penned by artists Elisheba Johnson and Kristen Ramirez in 2020.
About the Artists
Yasiman Ahsani
Currently based in Seattle, WA, Yasiman Ahsani is an Iranian-American artist and game designer whose paintings, digital illustrations, and traditional prints feature bold colors, shapes, and patterns inspired by her Middle-Eastern culture. She commemorates her family’s roots and brings to life visions of the communities and organizations she has worked with here in the United States.
Rey Daoed
Born in Seattle and now residing in Sammamish, WA, 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 methods of communication. He began painting in 2015 and the medium has since become an important secondary means of connection. Rey’s artwork has been included in group exhibitions both locally and abroad and featured in public venues throughout the Pacific Northwest.
Jovita Mercado
Jovita Mercado, originally from Yakima and now based in Vancouver, WA, is a Chicana living on the hyphen of the term Mexican-American. Her practice is driven by questions about history, gender, ethnicity, identity, colonization, and exploitation. Through her acts of making, she attempts to humanize and memorialize her culture’s accomplishments and resiliency in order to inspire others.
After a pause in programming, Gallery 4Culture launched its first call for artists since January 2020 to continue a 43-year history of exhibiting innovative, underrepresented artists and art forms in solo and small-group shows. Panelists Amelia Ketzel, Francisco Guerrero, Ashraf Hasham, and Tyna Ontko reviewed applications submitted through the process and selected 10 King County-based artists for the 2023-2024 season.
Stefan Gonzales. Domestic Non-Site #1, Resource Monuments, Mount Analogue Gallery (installation view), 2019. Quarry stones and 2 x 6 inch prime #2 Douglas Fir S4S lumber
Stefan Gonzales
September 7–28, 2023
Opening: First Thursday, September 7, 6:00–8:00 pm
Stefan Gonzales’ sculptures, objects, performances, and place-based photographs grapple with notions of land use, earthworks/land art, colonialism, the environment, family dynamics, and Indigenous identity.
Eunsun Choi. Cuckoo, 2021. Ceramic, wood, Arduino nano, and MP3 player
Eunsun Choi
October 5–26, 2023
Opening: First Thursday, October 5, 6:00–8:00 pm
Eunsun Choi’s cacophonous installation of cuckoo clocks represents the economic disparity in Korean society and reveals her personal experience of discomfort and anxiety resulting from the timepieces.
Allyce Wood. Glint, 2021. Handwoven digital jacquard tapestry, cotton, and wool. 40 x 41 ¾ inches
Allyce Wood
November 2–December 7, 2023
Opening: First Thursday, November 2, 6:00–8:00 pm
Closing: First Thursday, December 7, 6:00–8:00 pm
Allyce Wood explores concepts of legacy and information sharing, systems and breakable rules, and expansion and growth with the flexible medium of tapestry, both digital and handmade.
Sofya Belinskaya. Alla and Andreji, 2022. Watercolor on paper. 43 ½ x 47 ⅜ inches
Sofya Belinskaya
January 4–25, 2024
Opening: First Thursday, January 4, 6:00–8:00 pm
Sofya Belinskaya’s paintings portray the faces and stories of Ukrainian refugees now living in the Puget Sound region as a consequence of the ongoing war.
Colleen RJC Bratton. Memento Mori (day 1), 2022. Flower petals, seeds, and soil. 67 x 26 inches
Colleen RJC Bratton
February 1–29, 2024
Opening: First Thursday, February 1, 6:00–8:00 pm
With photographs, videos and ephemeral drawings made from natural materials, Colleen RJC Bratton seeks to associate the decay of our own bodies with that of the composting flower, dissolving seaweed, rotting log, and melting snow–all returning to the earth.
Jo Cosme. I Can Barely Live Where You Vacation, 2023. Digital print. 20 x 16 inches
Jo Cosme
March 7–28, 2024
Opening: First Thursday, March 7, 6:00–8:00 pm
Jo Cosme’s immersive multimedia installation contrasts widespread perceptions of Puerto Rico as a Caribbean Paradise with the capitalist and neocolonialist realities endured by Native Boricuas over generations.
Cameron Day O’Connell. L.O., Kelly, and some Moisturizer, 2022. Digital photograph
Cameron Day O’Connell
April 4–25, 2024
Opening: First Thursday, April 4, 6:00–8:00 pm
Cameron Day O’Connell’s photographs and multimedia prints capture fleeting moments of intimacy, grief, and transformation in queer community and the natural world.
Maria Phillips. Technosphere, 2019. Single-serving chip bags, Capri Sun juice pouches, family-size chip bags, coffee bags, steel wire, and electric motor. 4 ½ x 4 x ½ feet. Photo: Andrew Giammarco
Maria Phillips
May 2–30, 2024
Opening: First Thursday, May 2, 6:00–8:00 pm
Always on alert for the inconspicuous beauty that awaits in random encounters and habitual rhythms of her daily landscape, Maria Phillips comingles discarded and overlooked materials, producing constructions that question their purpose, necessity, and possible futures.
John Feodorov. Living Beneath A White Rainbow, 2020. Acrylic, latex, ink, graphite, and collage. 66 x 78 inches
John Feodorov
June 6–27, 2024
Opening: 1st Thursday, June 6, 6:00–8:00 pm
In his ongoing series of paintings, Assimilations, John Feodorov reflects upon the complexities of identity through a critical exploration of his own childhood, growing up as a half Diné (Navajo)/half white child in the suburbs of Southern California.
Hanako O’Leary. War Mask 3, 2019. Clay, glaze, and cotton. Size: 12 ½ x 10 x 6 inches. Photo: Jo Cosme
Hanako O’Leary
July 5–August 1, 2024
Opening: First Thursday, July 11, 6:00–8:00 pm
Closing: First Thursday, August 1, 6:00–8:00 pm
Hanako O’Leary celebrates the female body through the feminization of the landscape and explores the intercultural and intergenerational relationships within her mixed Japanese-American heritage.
Congratulations to our 2023-2024 artists!
We’d like to thank all 99 gallery applicants for their interest in exhibiting with us and the panel for their diligence in making these selections. Artists who were not awarded shows are encouraged to reapply next year. The 2024-2025 Gallery 4Culture season application cycle will open in early November 2023 with a deadline of December 14, 2023.
Maria and her cousin Vera Frank crossing the Atlantic, January 1948. Photo courtesy of the artist’s estate.
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Maria Frank Abrams (1924-2013) came to Seattle in 1948 as a survivor of the Holocaust, then built an illustrious career as one of the most celebrated artists in the region. Her body of work includes paintings, works on paper, public art, set and costume design, and mosaics, reflecting influences from the University of Washington’s School of Art where she earned her Bachelor of Fine Art summa cum laude in 1951. Later she also earned her Master of Library Science.
After graduating with her BFA, Abrams benefitted from the advice and critique of Northwest School luminary Mark Tobey, expanding her use of materials and stylistic abstraction. Tobey introduced her to his gallerist, Otto Seligman, who then represented Abrams until his death. At the same time, Abrams began showing extensively in solo and group exhibitions at regional venues such as the Seattle Art Museum, the Henry Art Gallery, and the Frye Art Museum. She gained broad national and international attention in subsequent years. In 2022, the Cascadia Art Museum in Edmonds, WA mounted a solo retrospective of her work, the third of her career.
Maria Frank Abrams. The Four Seasons, 1976. Oil on linen. 47 x 352 inches. King County Public Library, Mercer Island, WA. King County Public Art Collection. Photo: Omri Abram
In 1976, Abrams was one of the first artists commissioned to create a site-specific artwork for the King County Public Art Collection (KCPAC) through the King County Arts Commission’s New Proposal Fund, which invited artists to submit proposals for new work in public spaces. Abrams selected her neighborhood library on Mercer Island, where her mural The Four Seasons is still on display.
This year, in honor of the 10th anniversary of Abrams’ death, we are beginning the process of providing needed cleaning, conservation, and restoration work for The Four Seasons, as well as her other pieces in the KCPAC: Divided Sky, 1977 and Wintry Sky, 1985.
Maria Frank Abrams, At exhibition opening, Vizualart Gallery Budapest, October 29, 1992. Photo courtesy of the artist’s estate.
With increasing anti-Semitism across the globe, we are proud to invest in the preservation of these important artworks by an exceptional regional Jewish artist. In the words of Maria Frank Abrams, “Practically everyone in the Western world has a responsibility for what happened to us Jews during those years…one of the things which is very important to me is to talk about my family who perished, to make a note, a mark, for them.”
By preserving the testimonies, stories, artworks, writing, and other creative achievements of Holocaust survivors, we can remember the power of humans to heal and what is at stake if we chose to forget.
“During a special meeting on Tuesday, January 30, the King County Council presented a proclamation of the Council’s condemnation of antisemitism in recognition of Holocaust Remembrance Day… King County is committed to showing support and pursuing justice for the Jewish community, especially during a time where xenophobia and white nationalism have become increasingly pervasive throughout the country.” – Councilmember Jeanne Kohl-Welles
How well do you know Josh Heim? Last month the 4Culture staff said goodbye to Joshua Heim, who started a new and exciting chapter as Executive Director at the Western Arts Alliance, a membership association supporting performing arts throughout the Western states.
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How well do you know Josh Heim? Last month the 4Culture staff said goodbye to Joshua Heim, who started a new and exciting chapter as Executive Director at the Western Arts Alliance, a membership association supporting performing arts throughout the Western states.
We can’t thank Josh enough for his service to 4Culture! He started his tenure just a few months before the pandemic hit, coming on board exactly three years ago. He played an instrumental role in providing stability, vision, and a way forward during crisis, as we created a new structure and practice to manage federal dollars through a significant Relief and Recovery program.
Many of you know Josh as a dedicated arts leader and advocate, either from his time with us, or with the City of Bellevue and Redmond. But how well do you really know him? Take the quiz we took at his going away party. We’ll let you know how well you scored.
We are going to miss you Josh! Thanks for all your dedication to 4Culture and wishing you the best as you start this new chapter in your career.
(Answers: 1-C, three years; 2-B, Avocado Toast; 3-B, OEFA; 4-C, Manages an Air BnB; 5-C, Michelle Obama; 6 Office of Economic and Financial Analysis)
Danele Alampay, the 2022 Equity in Historic Preservation Intern, writes about her interest in historic preservation and reflects on her internship project, providing data analysis and research support to the Beyond Integrity Initiative.
By Danele Alampay, 2022 Equity in Historic Preservation Intern
I became interested in historic preservation through architecture. I was, and still am, interested in how existing buildings could be rehabilitated. Returning to school to learn more about historic preservation last year expanded my understanding of how it affects other aspects of the built environment, and I wanted to find out more on how it is applied to policy and planning. I was excited to get the opportunity to do so through the Beyond Integrity internship, especially as it meant that I got to see how it is at work close to my home in Western Washington.
My internship came in two parts. The first weeks were dedicated to continuing the work done by the 2016 and 2017 interns, which was looking at how properties, non-designated and designated as landmarks, in Seattle and King County reflect underrepresented communities. For someone who had studied architecture, it was very enlightening to shift the focus on the significance of a place to not just the apparent beauty and craftsmanship of the past, but also to the stories that are told by the place. From what I found, I believe we are moving towards better acknowledging the context of the neighborhood, especially when there are or had been minority groups who contributed to what we see today. Of course, the findings also show there is more that can be done in how landmark applications are written and in what properties are brought to nomination and designation. I’ve always been impressed with great architecture, but as I’ve moved on in school and in work, I began to appreciate what it is that make places great to be in and what about them draws people. For historic preservation, sites can also reflect a part of our own personal histories and experiences, and seeing work dedicated to pushing for more diverse stories told through the places we protect has been fulfilling.
The second part of my internship was researching the design review process for sites designated for their cultural significance. I was daunted at first by the task because I didn’t know what to expect. It is a more recent direction that people working in historic preservation are taking, so I wasn’t sure if there were many designated examples out there yet that have gone through this process. And where does one even begin? Could there even be a standard to approaching the management of these places on a local government level? There are many questions, and honestly, by the end, I feel like I had more questions to ask. Despite that, it doesn’t feel like I got to nowhere, but rather that I’ve taken a step in trying to understand the issue better. One main takeaway is that it is important to listen to the community members and the owners of these culturally significant sites because they can give insight into how to care for these places. They can also point to how a place’s significance is presented, like in physical elements of the building or the types of activities held in its spaces.
A major part of the work was reaching out and interviewing people in city or county historic preservation offices. Through talking with seven offices (Seattle, King County, Spokane, San Francisco, Los Angeles, Denver, Miami-Dade), I learned so much about experiences they have had with culturally significant landmarks and the kinds of questions or challenges they anticipate when faced with these types of properties. It was also inspiring to hear other people excited about this subject and where field of historic preservation is headed. There is still much that can be done with this research, and I hope research and conversations continue past this internship.
About Danele
Danele Alampay was selected as the 2022 Equity in Historic Preservation Intern for 4Culture and Beyond Integrity. Originally from the Philippines and University Place/Tacoma, Washington, she received her Bachelor of Arts degree in Architectural Design with Honors from the University of Washington in 2017. She served as an Undergraduate Research Assistant for the UW College of Built Environments, and was awarded the 2016 Rolland A. Simpson Endowed Scholarship in Architecture. From 2017-2019, she was a Designer for Northwest Studio, an architecture and urban design firm in Seattle. In Fall 2019, she was a Research Assistant at the University of the Philippines. In the beginning of 2020, she worked briefly as a Designer for Robert Hutchison Architecture in Seattle. Danele is currently a Master of Science in Historic Preservation Candidate at the University of Pennsylvania Stuart Weitzman School of Design and will graduate in 2023.
In July and August, Danele gave two presentations based on 10 weeks of her research, building upon previous interns’ reports on how historic properties associated with underrepresented communities have fared in local landmark designation processes.
Denise Emerson. People of the River, 2016. Seed beads, bone, shell, and suede. 8 x 8 x 1/8 inches. King County Public Art Collection. Photo: Mel Carter
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In 2021, Joe Biden became the first U.S. president to officially recognize Indigenous Peoples’ Day, proclaiming that “For generations, Federal policies systematically sought to assimilate and displace Native people and eradicate Native cultures. Today, we recognize Indigenous peoples’ resilience and strength as well as the immeasurable positive impact that they have made on every aspect of American society.” 1
This October 10th, King County and 4Culture also observe Indigenous Peoples’ Day by acknowledging and talking about the violent history of colonization in the Western hemisphere.
With gratitude, we work on the ancestral and unceded lands and waters of Lushootseed-speaking peoples, especially of the Duwamish, Muckleshoot, Puyallup, Snoqualmie, Suquamish, and Tulalip tribes, as well as those whose names we do not know. Today, many Indigenous peoples live and thrive here. We commit to repairing the harmful historic relationship between 4Culture and Native peoples in King County through cultural funding and commissioning opportunities that prioritize Indigenous communities.
As an extension of this charge, we’ve acquired original beadwork by Denise Emerson for the King County Public Art Collection. People of the River, 2016, is made of seed beads, bone, shell, and suede.
Denise Emerson. People of the River, 2016. Seed beads, bone, shell, and suede. 8 x 8 x 1/8 inches. King County Public Art Collection. Photo: Mel Carter
Denise Emerson. Photo: Tim Aguero
Denise was born in Shelton, WA and currently resides in Burien, WA. She is the eldest daughter of Bertha Allen who was an enrolled Twana (Skokomish) Tribal Member and Danny Emerson, Sr. who was an enrolled Diné (Navajo) Tribal Member. The imagery in her work is based on familial relationships and, by extension, these dual cultural influences. Trained as a graphic designer, she also merges contemporary practices with traditional methodologies.
“My parents taught me that I am here because of my ancestors, that I belong to two rich cultures. I designed this composition to represent the Twana people, also known as the Skokomish Nation. As a small tribe, our cultures and our treaties are not often talked about. I hope to change that.
The Elder Skokomish woman (left) is named Hleastunuh, the second person is titled, “the Skokomish Indian Chief’s Daughter”, and the third and fourth Skokomish tribal members are at a fishing camp. I love the details in the Elder woman’s face, hair, and cape. I illustrated these details to show her beauty… She reminds me of my mother’s older sister, Elsie. In the background, I used Skokomish symbolism representing salmon gills as my stand-in for a rising sun. Symbolism is in all of my beadwork. The three baskets in the front depict the Skok dog symbol. This is in reference to the use of dog hair in historical weaving. The text in the mountain range in English reads, “People of the River” and below in Twana language is written, “People of the River”. Finally, below the shell border is the text “Skokomish Nation”.
“The bus stop is the place that the bus rider begins and ends their journey. Their experience there should invite them back, over and over again, not just out of utility but out of joy.” –Johnson|Ramirez, RapidRide Expansion Art Plan
Artist Ryan! Feddersen has been selected to develop a series of small sculptures and related retaining wall treatments for the new RapidRide I Line corridor, which will connect the historically underserved King County, WA cities of Renton, Kent, and Auburn via bus rapid transit.
4Culture, in partnership with King County Metro Transit, conducted a national open call for this opportunity dubbed SMALL BUT MIGHTY and announced with the prompt: How might little artworks add BIG moments of surprise and joy to these otherwise utilitarian places?
98 artists and artist teams submitted their qualifications for consideration. A committee comprised of regional artists and arts professionals, community representatives, and Metro staff reviewed all materials, conducted interviews with finalists, and ultimately awarded the commission to Feddersen.
Unified by concept, scale, and durable media, the work she develops will be permanently installed at up to a dozen bus stations and adjacent points of interest along the 17-mile alignment. Serving a huge diversity of people and places and encompassing at least thirteen different language groups in its ridership, Feddersen hopes to elevate I Line histories and cultures. She says, “I am excited by the concept of stories which unfold over space and time and have long been interested in creating a series of artworks for sites where there is a special opportunity to work iteratively or where viewers experience multiple artworks in sequence that have interesting, surprising relationships to one another. I find it captivating to make artwork for public settings where people experience the same artwork frequently and can continue to find new elements in the work.”
Ryan! Feddersen. Inhabitance, 2021. Portland International Airport, Portland, OR. Photo: Mario Gallucci Studio
About the Artist
RYAN! Feddersen specializes in creating compelling site-specific installations and public artworks which invite people to consider their relationships to the environment, technology, society and culture. She completed a BFA at Cornish College of the Arts in 2009. Feddersen is an enrolled member of the Confederated Tribes of the Colville Reservation, from the Okanogan and Arrow Lakes bands, and of mixed European decent. Recently, she completed public artworks Inhabitance for the Portland International Airport, Schema for CitizenM Pioneer Square, and Antecedents for the University of Washington. She has created large-scale site-specific pieces and interactive installations throughout North America, working with Seattle Office of Arts and Culture, 4Culture, Regional Arts and Culture Council, ArtsWa, Museum of Art & History Santa Cruz, Seattle Art Museum, Tacoma Art Museum, City of Tacoma, University of Washington, Wellin Museum, College of New Jersey, and Northeastern University. Learn more about her practice at ryanfeddersen.com.
Rosten Woo. A Park is Made by People, 2018. Metal and wood signs. Los Angeles State Historic Park, CA. Photo by the artist.
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We are excited to announce that Rosten Woo was selected to work collaboratively with our partners at King County Parks to develop an art plan for King County Parks’ extensive network of parks, regional and backcountry trails, and open space in collaboration with the communities they touch. Rosten will consider the existing King County Regional Trails System Art Plan developed by Brian Borrello in 2011 as a jumping-off point for a new plan that looks holistically at regional trails, parks, and open space.
Rosten will create a conceptual framework for system-wide and community-specific art integration and intervention that prioritizes working with BIPOC communities while acknowledging that each community faces different systemic barriers to accessing these spaces. The plan will be informed by communities in urban to rural areas, provide a range of artistic opportunities throughout Parks’ public spaces and provide an opportunity for Rosten to propose his own project for future development.
Over the coming months, Rosten will work closely with 4Culture and KC Parks to conduct research on the natural, social, and cultural history of the area, gain a deeper understanding of the variety of landscapes and uses of Parks’ public assets, and engage with communities to identify key themes or concepts for the art plan.
Photo of Rosten Woo by Kristiania Clark.
Originally from Seattle, Washington, Rosten currently resides in Los Angeles. In naming Rosten a recipient of its 2021 Johnson Fellowship for Artists Transforming Communities, Americans for the Arts said the following: “He produces artworks that respond to civic concerns, which emerge from long-term collaborations between grassroots organizations, cultural and community nonprofits, and local governments. His projects aim to help people understand complex systems, orient themselves to places, and make group decisions. Since 2010, Woo has centered his community work largely in Los Angeles, producing temporary and permanent installations that illuminate complicated histories and present-day issues in the physical and socioeconomic environment.”
The selection panel was impressed by his thoughtful approach to engaging and collaborating with communities. His work grapples with complex, layered issues such as gentrification and homelessness. Rosten has the incredible ability to take intricate issues and distill them to their essence and in turn, create something new that explains the complexity in a way that is simple and clear to everyone.
Rosten Woo. A Park is Made by People, 2018. Wood signage and audio. Los Angeles State Historic Park, CA. Photo: Tiffanie Tran.
Rosten says, “My work is collaborative and process-oriented. It is abstract, but also warm and inviting. I use quantitative and computational methods to arrive at forms but I also try to call those methods into question and highlight their inadequacy. I frequently work in extended dialog with specific communities (as defined by geography or common interest (for instance, a tenant organizing group, members of a worker’s center, or a car club). My ultimate goal is to re-orient people to the places they live.”
We look forward to working with Rosten and supporting his process in the development of the Regional Parks and Trails Art Plan.
Last year, after decades of advocacy across the country, Juneteenth became a federal holiday; this year, King County and 4Culture are following suit. We’ve spent the last few months thinking about how to acknowledge this holiday in a way that is an expression of our mission, vision, and values. We also plan to do the […]
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Last year, after decades of advocacy across the country, Juneteenth became a federal holiday; this year, King County and 4Culture are following suit. We’ve spent the last few months thinking about how to acknowledge this holiday in a way that is an expression of our mission, vision, and values. We also plan to do the same for Indigenous Peoples’ Day, which we will officially recognize for the first time as well.
We see this as an opportunity to educate and celebrate. Juneteenth is not as well understood as other holidays, so we are teaching ourselves about it and reposting a few resources we found especially helpful:
As with all history...it’s complicated! We learned a lot from this article, which explores the complexities of Juneteenth.
Here is an article on the history of how African Americans and Indigenous peoples have worked together.
Juneteenth Acquisitions
Mia McNeal. The stares… A constant reminder, 2018. Gelatin silver print. 20 x 16 inches
Mia McNeal. Unapologetic, 2018. Gelatin silver print. 20 x 16 inches
Mia McNeal. I am not a threat, 2018. Gelatin silver print. 20 x 16 inches
We honor the beauty, power, and uniqueness naturally exuded by Black women with an acquisition of three gelatin silver prints by Mia McNeal. Part of her series, Undefinable, the portraits will become part of the King County Public Art Collection. McNeal’s photography and videography explores the intersections of history and identity. With an emphasis on personal narrative, she hopes to empower marginalized communities and inspire discussion and healing. Born and raised in Washington, she now lives in south King County where she maintains her studio and commercial practice.
We've also commissioned work by Damon Brown, which will be printed and displayed in 4Culture’s storefront, as well as shared digitally across our social media channels.
Events Around the County
Another great way to learn about and celebrate Juneteenth is to attend one of the many events happening around the county. Check out the South Seattle Emerald's roundup as well!
We’re proud to support this project by a group of incredible artists. They are seeking additional locations to display posters; if you’d like to offer a site, please contact .
Seattle Asian American Native Hawaiian/Pacific Islander Women Artists United Against Hate is a visual campaign to fight the tide of anti-Asian violence and xenophobia. In 2021 anti-Asian hate crimes across 16 major US cities spiked by 342% (according to a report from the Center for the Study of Hate & Extremism at CSU, San Bernardino.) Because of this alarming statistic, coupled with the waning media coverage of hate crimes against Asian Americans, we feel the urgency now more than ever to boost awareness and spur empowerment. The posters contain positive messaging like WE BELONG HERE, RESPECT BELOVED COMMUNITY, and PROTECT EACH OTHER, combined with original artwork by seven local celebrated AA+NHPI women artists: Diem Chau, Erin Shigaki, Juliana Kang Robinson, Julie Kim, Raychelle Duazo, Saiyare Refaei, and Saya Moriyasu. The campaign aims to raise awareness, beautify streetscapes, and uplift Seattle’s AA+NHPI community.
Posters will be free to the public at the following events:
July 9, 2022
SCIDpda (Seattle Chinatown International District Preservation and Development Authority) Bash
Canton Alley, Chinatown-International District, Seattle
July 28, 2022
Wing Luke Museum JamFest
Maynard Alley, Chinatown-International District, Seattle
In celebration of AA+NHPI Heritage Month the posters will be on display at the gallery windows of 4Culture in the Tashiro Kaplan building in Pioneer Square, at King Street Station, and in various storefronts throughout Seattle throughout the month of May. This project was made possible with funding from 4Culture and the Seattle Office of Arts & Culture and with support from Wing Luke Museum and SCIDpda.
Pick up a free poster and help declare that there is no place for hate in Seattle!
Since May 2021 when King County Executive Dow Constantine and the King County Council showed their support of our region’s cultural sector in the form of a $9.4 million appropriation from the American Rescue Plan Act (ARPA) fund, we’ve been working to get those dollars to those in our field who need it most via our Recovery Fund. We’re now delighted to share the King County cultural organizations who have received funding!
We approached how to best support cultural organizations through partnerships with King County Creative and the City of Seattle Office of Arts and Culture. Our region’s larger organizations were served by King County’s Revive and Thrive program while we funded smaller organizations, and by teaming up with the City of Seattle we were able to offer one application for three separate grants, including our long-standing Sustained Support program. This allowed us to look at the applicant pool holistically, prioritizing organizations that were not eligible for ARPA funds for Sustained Support. All of this helped immeasurably in distributing ARPA funds widely while reducing the application workload for overburdened organizations, and we thank those agencies for their collaboration.
On the applicant side, the requirements and restrictions that come with these federal funds have been significant, and we thank every organization for navigating this process alongside us. We continue to be deeply inspired by the resourcefulness of our sector! As these Recovery Fund dollars head out the door throughout 2022, we invite you to join us in celebrating the cultural organizations who will put them to use creating a vibrant and resilient King County.
Please note: these lists reflect funding for organizations only. We also ran a Recovery Fund grant program for individuals, which will be awarded and announced in the coming months. Stay tuned for more!
Kristen Ramirez (1971-2021). Ebb & Flow, 2014. Latex paint. Burke-Gilman Trail, Bothell, WA. King County Public Art Collection. Photo: Bob Suh
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Kristen Ramirez was a vibrant part of our community and deeply embedded in the world of public art as both an artist and administrator. Never short on creativity or innovation, she changed the things she touched for the better.
She exhibited her studio work at Gallery 4Culture in 2006 and 2018, serving as a selection panelist in-between. An original drawing from 2021 will be included in the program’s forthcoming publication, Remark, which is being dedicated in her honor. A number of Kristen’s paintings are also held in the King County Public Art Collection and will continue to be displayed in perpetuity.
Through her first 4Culture commission, she engaged volunteers to create the beloved mural, Ebb & Flow, an immersive experience of color and light in the Burke-Gilman Trail’s bustling Wayne Tunnel. The project was honored with an Americans for the Arts Year in Review Award as one of the top public artworks in the country.
More recently, Kristen and Elisheba Johnson developed the guiding vision for art integration for King County Metro’s RapidRide Expansion as well as a trio of mirrored sculptures for the Burien Transit Center that will be fabricated and installed in 2023.
Kristen was a longtime friend to many of us at 4Culture. We are heartbroken and miss her tremendously.
We’re excited to announce the reopening of Gallery 4Culture! Programming will resume on First Thursday, May 5 with Nate Clark’s Squinch. Please join us from 5:00—8:00 pm to celebrate Nate and this momentous occasion, our inaugural exhibition after more than two years of a pandemic hiatus.
This will also serve as your first opportunity to pick up a free copy of Remark, a collaborative publication featuring playful pairings of images and text contributed by 100 gallery alumni. Additional copies will be made available in limited quantities through the end of 2022.
The gallery will operate on reduced hours for the time-being; visit us on Thursdays and Fridays from 10:00 am to 5:00 pm.
About Danele
