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      <title>The Stranger, Seattle&#39;s Only Newspaper: Slog: Visual Art</title>
      
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    <title>What&#39;s That?</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/18/whats-that</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
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        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/483c/1371248580-img_0986.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/483c/1371248580-img_0986.jpg&quot; alt=&quot;Youll find out in this weeks paper, coming out tomorrow.&quot; title=&quot;Youll find out in this weeks paper, coming out tomorrow.&quot; width=&quot;500&quot; height=&quot;667&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;You&#39;ll find out in this week&#39;s paper, coming out tomorrow.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
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          <category>Visual Art</category>
        
      
    
    

    
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    <pubDate>Tue, 18 Jun 2013 09:19:43 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
  </item>
      
        <item>
    <title>&quot;Positive, Uplifting, and Invigorating Art&quot; to &quot;Offset Grey Days&quot;</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/18/positive-uplifting-and-invigorating-art-to-offset-grey-days</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/1272/1371516246-katherine_bernhardt_lizard.jpeg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/1272/1371516246-katherine_bernhardt_lizard.jpeg&quot; alt=&quot;THE PAINTINGS OF KATHERINE BERNHARDT Id say positive has nothing to do with it.&quot; title=&quot;THE PAINTINGS OF KATHERINE BERNHARDT Id say positive has nothing to do with it.&quot; width=&quot;500&quot; height=&quot;426&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;THE PAINTINGS OF KATHERINE BERNHARDT I&#39;d say &quot;positive&quot; has nothing to do with it.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;There&#39;s a new gallery opening inside the interestingly weird warren of Seattle Design Center, where upscale design shops cater to specialty clients next to art galleries taking up temporary residence in shops that have been left empty in a cutthroat economy. I got the email announcing &lt;a href=&quot;http://www.katealkarnigallery.com/&quot;&gt;Kate Alkarni Gallery&lt;/a&gt; yesterday; it opens July 18.&lt;/p&gt;
&lt;p&gt;Good things: Deserving local artists like &lt;a href=&quot;http://www.katealkarnigallery.com/klaio_bio.html&quot;&gt;Kathy Liao&lt;/a&gt; will get commercial representation and presumably a new audience, and the roster interconnects the PNW with the rest of the universe; the roster&#39;s got artists from all over, Brooklyn to Boston to Chicago, at various levels of what those in the art world refer to as &quot;emergence.&quot;&lt;/p&gt;
&lt;p&gt;But there&#39;s something deeply silly going on in the PR. I have to remark on it, because it&#39;s not an anomaly. From the email, written by a marketing director I won&#39;t embarrass by name:&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;&quot;What we&#39;re up to that&#39;s a bit different from everywhere else, is that we are focusing on positive, invigorating and uplifting fine art. We aren&#39;t going to fill our walls with protest art, or anything overtly depressing. &lt;strong&gt;We figure Seattle needs art that will brighten their walls to offset the grey days.&lt;/strong&gt;&quot;&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;1: Art is not a vitamin, it is just art.&lt;/p&gt;
&lt;p&gt;2: The gallery business is a hard business. Almost every gallery owner is trying to offer something they think is a positive contribution to the world. You&#39;re not different if you&#39;re positive.&lt;/p&gt;
&lt;p&gt;3: What does art that is &quot;positive, invigorating and uplifting&quot; actually look like? We have been given parameters: no protest art. Even if the thing it is protesting is quite horribly negative? (Protests! So DRAB!)&lt;/p&gt;
&lt;p&gt;4: I&#39;m here to tell you that art that is not &quot;overtly depressing&quot; can be plenty implicitly depressing.&lt;/p&gt;
&lt;p&gt;5: Have the artists been briefed about how positively uplifting their works are? Here&#39;s a segment from &lt;a href=&quot;http://www.interviewmagazine.com/art/katherine-bernhardt#_&quot;&gt;an &lt;em&gt;Interview&lt;/em&gt; interview with Katherine Bernhardt&lt;/a&gt;, one of the artists at the gallery: &lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;[Interviewer]: The brush strokes could be seen as a hostile gesture.&lt;/p&gt;
&lt;p&gt;KB: Yes. &lt;strong&gt;Some people ask if I hate the models I paint&lt;/strong&gt;. I say no, I don&#39;t hate them. I&#39;m obsessed with them.&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;Again, the gallery business is a hard business. I&#39;m not trying to give Kate Alkarni Gallery a hard time; I&#39;m looking forward to seeing more work by Liao and &lt;a href=&quot;http://www.prographicadrawings.com/artist/laura-hamje&quot;&gt;Laura Hamje&lt;/a&gt;, and being introduced to &lt;a href=&quot;http://www.katealkarnigallery.com/rachid_statement.html&quot;&gt;Rachid Bouhamidi&lt;/a&gt; and &lt;a href=&quot;http://www.katealkarnigallery.com/ahobson_bio.html&quot;&gt;Aaron Hobson&lt;/a&gt;. Surely the gallery was casting about for an angle to distinguish itself, and hey, maybe it has&amp;#8212;I&#39;m writing about it here.&lt;/p&gt;
&lt;p&gt;But at the very least, those intent on reducing art and artists to cheering antidotes to modern life might leave the innocent environs of Seattle out of their scheme.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/18/positive-uplifting-and-invigorating-art-to-offset-grey-days#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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      </description>
      
        
          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">&quot;Positive, Uplifting, and Invigorating Art&quot; to &quot;Offset Grey Days&quot;</media:title>
        <media:description>THE PAINTINGS OF KATHERINE BERNHARDT You say &quot;positive,&quot; I&#39;d say &quot;positive&quot; has nothing to do with it.</media:description>
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    <pubDate>Tue, 18 Jun 2013 08:12:40 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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        <item>
    <title>Death of a Teenager: The Specific and General Sorrows of Mark Calderon</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/17/death-of-a-teenager-the-specific-and-general-sorrows-of-mark-calderon</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/death-of-a-teenager/Content?oid=17003280&quot;&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/83bc/1371248295-art1-click1.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/83bc/1371248295-art1-click1.jpg&quot; alt=&quot;Lacuna 3 (baby), cast acrylic cement embedded in the gallery wall, 2013, by Mark Calderon.&quot; title=&quot;Lacuna 3 (baby), cast acrylic cement embedded in the gallery wall, 2013, by Mark Calderon.&quot; width=&quot;500&quot; height=&quot;697&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist and Greg Kucera Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;em&gt;Lacuna 3 (baby)&lt;/em&gt;, cast acrylic cement embedded in the gallery wall, 2013, by Mark Calderon.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;When Greg Kucera casually walks in and asks how I&#39;m doing, my hand just goes up to my heart. That&#39;s when he says, &quot;&lt;strong&gt;Even people who don&#39;t know can feel it&lt;/strong&gt;.&quot; We&#39;re standing in the corner of the back room of his gallery just before First Thursday starts. We&#39;re inside a modestly sized show by Seattle artist &lt;strong&gt;Mark Calderon&lt;/strong&gt;. In the wall next to us, there is a small cavity shaped like a cloud. Another wall has three more cavities. Two are shaped, vaguely, like leaves. Between them is a hollow, shadowy baby. The baby&#39;s feet are crossed. Another pair of crossing feet, lifelike and cast in lead, lie on a pedestal. Near them, a small lead turtle on its back tries to right itself, craning its neck so the soft throat is exposed, twisting a tiny leg to push.&lt;/p&gt;
&lt;p&gt;&quot;It&quot; is not a secret. Calderon is married to Chiyo Ishikawa, longtime Seattle Art Museum curator. Her son Nap had a bike accident on Pike and Boren on May 29, 2012. Days later, he died, just before &lt;strong&gt;what would have been his 19th birthday&lt;/strong&gt;. Nap&#39;s father is Dick Cantwell, owner of Elysian Brewing. On the night of this opening, exactly a year later, Kucera is preparing to receive a gathering at the gallery of heavy-hearted art-world figures, brewers, and teenage skateboarders.&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/death-of-a-teenager/Content?oid=17003280&quot;&gt;Keep reading &gt;&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;I really want to &lt;strong&gt;urge&lt;/strong&gt; you to go to this exhibition before &lt;a href=&quot;http://www.gregkucera.com/calderon.htm&quot;&gt;it closes June 29&lt;/a&gt;.&lt;/p&gt;
        
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          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">&lt;b&gt;Death of a Teenager&lt;/b&gt;: The Specific and General Sorrows of Mark Calderon</media:title>
        <media:description>&lt;em&gt;Lacuna 3 (baby)&lt;/em&gt;, cast acrylic cement embedded in the gallery wall, 2013, by Mark Calderon.</media:description>
        <media:credit>Courtesy the artist and Greg Kucera Gallery</media:credit>
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    <pubDate>Mon, 17 Jun 2013 09:13:23 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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        <item>
    <title>The Great 30-Year Story of a Great Seattle Artist Opens Today: JOIN ME</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/15/the-great-30-year-story-of-a-great-seattle-artist-opens-today-join-me</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/3f20/1371249019-simpson-buster_in_crows_nest.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/3f20/1371249019-simpson-buster_in_crows_nest.jpg&quot; alt=&quot;Simpson-Buster_in_Crows_Nest.jpg&quot; title=&quot;&quot; width=&quot;500&quot; height=&quot;634&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist and the Frye Art Museum&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;That&#39;s the Seattle artist Buster Simpson back in the day, in 1970s Belltown. He was camping out in a crows&#39; nest he made, trying to save a cherry tree from developers.&lt;/p&gt;
&lt;p&gt;Simpson is &lt;strong&gt;the original environmental artist&lt;/strong&gt;. He&#39;s also a Seattle classic. A long-deserved survey of his entire career &lt;a href=&quot;http://fryemuseum.org/exhibition/5093/&quot;&gt;opens today at the Frye Art Museum&lt;/a&gt;, where he&#39;ll be talking at 2 pm.&lt;/p&gt;
&lt;p&gt;I very much recommend the show, full of sculptures and stories and pictures. I&#39;ll be writing and posting more about it soon. A tip: One of the show&#39;s installation is outdoors just north of Pike Place Market, in Post Alley. Go down anytime and look for the &lt;strong&gt;lines of shining white laundry&lt;/strong&gt; hanging between a condo building and a brick structure housing low-income residents.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/15/the-great-30-year-story-of-a-great-seattle-artist-opens-today-join-me#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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        <media:title type="html">The Great 30-Year Story of a Great Seattle Artist Opens Today: JOIN ME</media:title>
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        <media:credit>Courtesy the artist and the Frye Art Museum</media:credit>
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    <pubDate>Sat, 15 Jun 2013 09:24:38 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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        <item>
    <title>Currently Hanging: Allyce Wood&#39;s Breakthrough Show</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/14/currently-hanging-allyce-woods-breakthrough-show</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/7eb4/1371243761-ornament_2.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/7eb4/1371243761-ornament_2.jpg&quot; alt=&quot;Ornament, watercolor on paper, 2013, by Allyce Wood. She based the image on a funghal harvest.&quot; title=&quot;Ornament, watercolor on paper, 2013, by Allyce Wood. She based the image on a funghal harvest.&quot; width=&quot;500&quot; height=&quot;350&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy of the artist&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;em&gt;Ornament&lt;/em&gt;, watercolor on paper, 2013, by Allyce Wood. She based the image on a &quot;funghal harvest.&quot;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;In &lt;a href=&quot;http://allyceallyce.blogspot.com/&quot;&gt;Allyce Wood&lt;/a&gt;&#39;s new drawings, the world has run dry. Everything seems like a husk of itself. Harvests are fibrous and striated, like precise medical drawings of muscles, tendons, bones. Dead and hollow pieces of wood are garlanded by parched leaves. Braids and nests have withered. Each drawing is so exactly beautiful as to be softly painful; each is &lt;strong&gt;a pang of self-conscious nostalgia&lt;/strong&gt; for a lost world where these things are more vibrantly alive. Though small, the show at SOIL, called &lt;a href=&quot;http://soilart.org/&quot;&gt;&lt;em&gt;Latent Utility: Present But Not Active Worth&lt;/em&gt;&lt;/a&gt;, feels like a major step forward for the young Seattle artist.&lt;/p&gt;
&lt;p&gt;It includes nine pieces. (They are modestly priced&amp;#8212;all but one between $180 to $550.) &lt;em&gt;Ornament&lt;/em&gt;, above, is based on Wood&#39;s imagining of how a rope of mushrooms might be grown from &lt;strong&gt;slimy microbial starts&lt;/strong&gt;. She hangs her pretty fiction on the ghost ribbons behind it.&lt;/p&gt;
&lt;p&gt;Wood graduated from Cornish in 2010 and has been active on the scene since, her &lt;strong&gt;dense drawings of undergrowth&lt;/strong&gt; popping up in group and solo shows at Ghost, SOIL, LxWxH, Cullom, NEPO. She&#39;d restricted her palette to black ink on white paper for a while&amp;#8212;her plants aggressively drained of color. (&lt;em&gt;Overgrown Restraint&lt;/em&gt;, a drawing of a cluster of tendrils outgrowing its fences, is reminiscent of the older style, but with more shading.) She deliberately broke into romantic shadow and color for &lt;em&gt;Latent Utility&lt;/em&gt; to up the emotional ante, and it worked. The pieces are quietly magnetic. Some of them are so tender yet precise as to bring to mind an artist like D&amp;#252;rer.  &lt;/p&gt;
&lt;p&gt;&lt;em&gt;Dried&lt;/em&gt;, &lt;strong&gt;a little 6-by-8-inch watercolor on rag&lt;/strong&gt;, is such a simple and innocently hued parable that it could be from a spiritual manuscript. What are the circumstances of this little stand of dried growths tied up like old-timey hobo &lt;a href=&quot;http://en.wikipedia.org/wiki/Bindle&quot;&gt;bindles&lt;/a&gt; under a stormy sky? It somehow feels like it has something to teach, but the lesson is unknown, hiding out among the rest of this showful of shadows.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/e857/1371247368-dried.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/e857/1371247368-dried.jpg&quot; alt=&quot;Dried, 2013.&quot; title=&quot;Dried, 2013.&quot; width=&quot;500&quot; height=&quot;609&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy of the artist&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;em&gt;Dried&lt;/em&gt;, 2013.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/14/currently-hanging-allyce-woods-breakthrough-show#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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      </description>
      
        
          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">&lt;b&gt;Currently Hanging&lt;/b&gt;: Allyce Wood&#39;s Breakthrough Show</media:title>
        <media:description>&lt;em&gt;Ornament&lt;/em&gt;, by Allyce Wood.</media:description>
        <media:credit>Courtesy of the artist</media:credit>
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    <pubDate>Fri, 14 Jun 2013 15:04:47 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Meet Me at Vermillion at 6</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/13/meet-me-at-vermillion-at-6</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;During tonight&#39;s art walk on Capitol Hill, I&#39;m leading a tour starting at 6 at Vermillion, where we&#39;ll encounter this, by &lt;a href=&quot;http://artbybrookeweston.com/&quot;&gt;Brooke Weston&lt;/a&gt;:&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/2e0b/1371141723-jonas_denver_1.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/2e0b/1371141723-jonas_denver_1.jpg&quot; alt=&quot;Jonas Denver is his name, or perhaps the name of the person who lives inside his head, who likes to hang art on the walls.&quot; title=&quot;Jonas Denver is his name, or perhaps the name of the person who lives inside his head, who likes to hang art on the walls.&quot; width=&quot;500&quot; height=&quot;625&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;em&gt;Jonas Denver&lt;/em&gt; is his name, or perhaps the name of the person who lives inside his head, who likes to hang art on the walls.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/cba2/1371141778-jonas_denver_2.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/cba2/1371141778-jonas_denver_2.jpg&quot; alt=&quot;Jonas_Denver_2.jpg&quot; title=&quot;&quot; width=&quot;500&quot; height=&quot;474&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;At Vermillion we will also see &lt;a href=&quot;http://artbybrookeweston.com/&quot;&gt;deer and goats and rams, oh my&lt;/a&gt;. And then we will go over to Hard L for some &lt;a href=&quot;http://www.thestranger.com/seattle/creepy-dolls-and-elaborate-pig-costumes/Content?oid=17003308&quot;&gt;creepy dolls and elaborate pigs&lt;/a&gt;. Who knows what else will happen along the way. &lt;strong&gt;Coen brothers at Ltd?&lt;/strong&gt; Science at True Love? Underwater shots at Babeland?&lt;/p&gt;
&lt;p&gt;There are &lt;strong&gt;walking tours all evening&lt;/strong&gt;, by &lt;strong&gt;Ellen Forney&lt;/strong&gt; and &lt;strong&gt;Emmett Montgomery&lt;/strong&gt; and the &lt;strong&gt;Sisters of Perpetual Indulgence&lt;/strong&gt; and &lt;strong&gt;Purple Mark&lt;/strong&gt; and &lt;strong&gt;Joey Veltkamp&lt;/strong&gt; and &lt;strong&gt;Mylinda Sneed&lt;/strong&gt;. &lt;a href=&quot;http://www.blitzcapitolhill.com/&quot;&gt;Here&#39;s the full rundown&lt;/a&gt;.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/13/meet-me-at-vermillion-at-6#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">Meet Me at Vermillion at 6</media:title>
        <media:description>&lt;em&gt;Jonas Denver&lt;/em&gt; is his name, or perhaps the name of the person who lives inside his head, who likes to hang art on the walls.</media:description>
        <media:credit>Courtesy the artist</media:credit>
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    <pubDate>Thu, 13 Jun 2013 09:48:11 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>What&#39;s That House Being Built in the Sculpture Park? A Father-Daughter Collaboration</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/12/whats-that-house-being-built-in-the-sculpture-park-a-father-daughter-collaboration</link>
    <guid isPermaLink="true">http://slog.thestranger.com/slog/archives/2013/06/12/whats-that-house-being-built-in-the-sculpture-park-a-father-daughter-collaboration</guid>

    
    
      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/7729/1371068672-art-570-1.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/7729/1371068672-art-570-1.jpg&quot; alt=&quot;LIKE DAUGHTER, LIKE FATHER, LIKE GREAT-GRANDPA, TOO Art and the Harts (Heather, left, and Harry H. III).&quot; title=&quot;LIKE DAUGHTER, LIKE FATHER, LIKE GREAT-GRANDPA, TOO Art and the Harts (Heather, left, and Harry H. III).&quot; width=&quot;500&quot; height=&quot;333&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;LIKE DAUGHTER, LIKE FATHER, LIKE GREAT-GRANDPA, TOO Art and the Harts (Heather, left, and Harry H. III).&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;Late in the afternoon last Friday, after a long week of work, &lt;strong&gt;Heather Hart and Harry H. Hart III&lt;/strong&gt; agree to sit down to talk. We meet at Green Leaf restaurant in the basement of the Labor Temple in Belltown, close to their construction site. Harry has been to the Labor Temple before, for a meeting of his carpenters&#39; union years ago. Now he&#39;s retired, but using the same skills to help his daughter build art. On a weedy, sloping lawn at the &lt;strong&gt;Olympic Sculpture Park&lt;/strong&gt;, they&#39;re erecting a structure facing water and mountains and sky. It will look like a buried house with only the attic and roof sticking out. All summer, people will walk in it and on it, they will drum on its interior walls made of animal hides, and Donald Byrd will dance on the roof.&lt;/p&gt;
&lt;p&gt;The wood-frame form is based on Heather&#39;s childhood home in North Seattle, which Harry partly built...&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/fabricating-belief/Content?oid=16950411&quot;&gt;Keep reading &gt;&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;And below is Heather&#39;s Kickstarter video from last year (the campaign is over), for more visual background on the series of roofs&amp;#8212;there are now three in all, Northern, Eastern, and Western. &lt;a href=&quot;http://www.seattleartmuseum.org/getout/art_2013.asp&quot;&gt;The Olympic Sculpture Park project opens June 22.&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;iframe width=&quot;480&quot; height=&quot;360&quot; src=&quot;http://www.kickstarter.com/projects/382967202/the-eastern-oracle-we-will-tear-the-roof-off-the-m/widget/video.html&quot; frameborder=&quot;0&quot;&gt; &lt;/iframe&gt;&lt;/p&gt;
        
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          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">&lt;b&gt;Fabricating Belief&lt;/b&gt;: A Father-Daughter Discussion</media:title>
        <media:description>LIKE DAUGHTER, LIKE FATHER, LIKE GREAT-GRANDPA, TOO Art and the Harts (Heather, left, and Harry H. III).</media:description>
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    <pubDate>Wed, 12 Jun 2013 13:40:53 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Creepy Dolls and Elaborate Pig Costumes: The New Women and Queer Space You Must Go See (No Jackasses)</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/12/creepy-dolls-and-elaborate-pig-costumes-the-new-women-and-queer-space-you-must-go-see-no-jackasses</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/creepy-dolls-and-elaborate-pig-costumes/Content?oid=17003308&quot;&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/80c7/1371060779-art-570.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/80c7/1371060779-art-570.jpg&quot; alt=&quot;The women of Hard L. Meet them at Dancing With Dummies on Thursday night.&quot; title=&quot;The women of Hard L. Meet them at Dancing With Dummies on Thursday night.&quot; width=&quot;500&quot; height=&quot;576&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Kelly O&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;The women of Hard L. Meet them at &lt;a href=&quot;http://www.thestranger.com/seattle/Event?event=16903912&quot;&gt;&lt;em&gt;Dancing With Dummies&lt;/em&gt;&lt;/a&gt; on Thursday night.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;Tania Albrandt and Leigh Riibe are sitting in a wood-floored second-story walk-up inside the Pound, a squat building on Capitol Hill that has &lt;strong&gt;housed artist studios for 25 years&lt;/strong&gt;. A scrawled painting by Susan Robb, of her dog, remains on the front door from years ago when Robb rented there. This is now where Riibe, Albrandt, Kim Beecroft, and a silent partner are making their stand, operating a new art-film-music venue called &lt;a href=&quot;http://hardl.tumblr.com/&quot;&gt;Hard L&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;&quot;&lt;strong&gt;Capitol Hill has turned into a cesspool of jackasses&lt;/strong&gt;,&quot; Albrandt says.&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/creepy-dolls-and-elaborate-pig-costumes/Content?oid=17003308&quot;&gt;Keep reading &gt;&gt;&lt;/a&gt;&lt;/p&gt;
        
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        height="657">
        <media:title type="html">&lt;b&gt;Creepy Dolls and Elaborate Pig Costumes&lt;/b&gt;: The New Women and Queer Space You Must Go See (No Jackasses)</media:title>
        <media:description>The women of Hard L. Meet them at &lt;a href=&quot;http://www.thestranger.com/seattle/Event?event=16903912&quot;&gt;&lt;em&gt;Dancing With Dummies&lt;/em&gt;&lt;/a&gt; on Thursday night.</media:description>
        <media:credit>Kelly O</media:credit>
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    <pubDate>Wed, 12 Jun 2013 11:15:33 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Another Way of Thinking About Genius</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/11/another-way-of-thinking-about-genius</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div style=&quot;text-align:center;&quot;&gt;&lt;iframe width=&quot;500&quot; height=&quot;281&quot; src=&quot;http://www.youtube.com/embed/86x-u-tz0MA&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;You&#39;ve maybe already seen this not-new TED talk by Elizabeth Gilbert, the author of &lt;em&gt;Eat, Pray, Love&lt;/em&gt;, but since &#39;tis the season for &lt;a href=&quot;http://www.thestranger.com/seattle/Special/Genius&quot;&gt;the Stranger Genius Awards&lt;/a&gt;, I want to bring it out again. Gilbert proposes that &lt;strong&gt;the older version of genius was not being one, but having one&lt;/strong&gt;.&lt;/p&gt;
&lt;p&gt;&lt;em&gt;Having&lt;/em&gt; a genius is far better for your health than &lt;em&gt;being&lt;/em&gt; one. And for the health of a society, she says.&lt;/p&gt;
&lt;p&gt;Sometimes, she adds, you just need to tell your genius to come back at a more opportune time. Tom Waits, for instance, had to tell his once, &quot;Can&#39;t you see I&#39;m driving?&quot; Worldly concerns matter, because we&#39;re worldly freaking creatures with constantly dying bodies, so yeah, drive safely, don&#39;t kill yourself for your work, et cetera.&lt;/p&gt;
&lt;p&gt;This idea will also help artists not feel like they have to be suicidal or antisocial assholes in order to be doing it right.&lt;/p&gt;
&lt;p&gt;Here&#39;s part of what she says:&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;...the romans did not believe that a genius was a particularly clever individual, they believed that a genius was this sort of magical divine entity who was believed to literally live in the walls of an artist&#39;s studio, kind of like Dobby the house elf, who would come out and invisibly assist the artist with their work, and would shape the outcome of that work. So&amp;#8212;brilliant, there it is right there, that distance that I&#39;m talking about, that &lt;strong&gt;psychological construct to protect you from the results of your work&lt;/strong&gt;. And everyone knew that this is how it functioned, so the ancient artist was protected from certain things like for example too much narcissism, right? If your work was brilliant, [you] couldn&#39;t take all the credit for it, everybody knew you had this disembodied genius who had helped you, and if your work bombed, not entirely your fault, everyone knew that &lt;strong&gt;your genius was kind of lame&lt;/strong&gt;. ...&lt;/p&gt;
&lt;p&gt;This is how people thought about creativity in the west for a really long time until the Renaissance, and everything changed and we had this big idea and the big idea was, &#39;Let&#39;s put the individual human being at the center of the universe above all gods and mysteries.&#39; And there&#39;s no more room for, like, mystical creatures who take dictation from the divine, and it&#39;s the beginning of rational humanism, and &lt;strong&gt;people started to believe that creativity came completely from the self of the individual&lt;/strong&gt; and for the first time in history you start to hear people referring to this or that artist as being a genius rather than having a genius, and I gotta tell you, I think that was a huge error.&lt;/p&gt;
&lt;p&gt;I think that allowing somebody, like one mere person, to believe that he or she is like the vessel, like the fount and the essence and the source of all divine creative unknowable eternal mystery is just, like, a smidge too much responsibility to put on one fragile human psyche. It&#39;s like &lt;strong&gt;asking somebody to swallow the sun&lt;/strong&gt;, you know, it just completely warps and distorts egos and it creates all these unamanageable expectations about performance, and I think the pressure of that has been &lt;strong&gt;killing off our artists for the last 500 years&lt;/strong&gt;. And if it is true, and I think it is true, the question becomes, what now? Can we do this differently, maybe go back to some more ancient understanding about humans and the creative mystery? Maybe not&amp;#8230;. But the question is, why not?&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;Actually, this is not so foreign from the internal conversations we&#39;ve been having at &lt;em&gt;The Stranger&lt;/em&gt; about genius for years. This is why we have always been both respectful of genius in our awards, and also tongue-in-cheek about genius in our awards. This is why an artist&#39;s commitment to the culture of the city as whole matters in who we choose.&lt;/p&gt;
&lt;p&gt;For more discussion about genius, here&#39;s &lt;a href=&quot;http://www.kuow.org/post/defining-genius-radio-retrospective-and-lunch-pick&quot;&gt;a recent conversation on it between Christopher Frizzelle, Marcie Sillman, and me on KUOW&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;The awards are &lt;a href=&quot;http://www.thestranger.com/seattle/Special/Genius&quot;&gt;September 28&lt;/a&gt;, and our series of showcases where you get to meet all the artists and hear about and see their work&amp;#8212;&lt;a href=&quot;http://www.strangertickets.com/events/7763589/five-nights-of-genius-at-the-frye&quot;&gt;Five Nights at the Frye&lt;/a&gt;&amp;#8212;starts July 24. &lt;strong&gt;Mark calendars!&lt;/strong&gt;&lt;/p&gt;
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    <pubDate>Tue, 11 Jun 2013 11:19:40 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Jeff Koons, White Preschooler Supplicant to the White One Percent</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/11/jeff-koons-white-preschooler-supplicant-to-the-white-one-percent</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/9c4e/1370964949-jk_exhibitions_crop2-600x600.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/9c4e/1370964949-jk_exhibitions_crop2-600x600.jpg&quot; alt=&quot;Classicism pervades Jeff Koonss two new exhibitions. This sculpture is from Gazing Ball at David Zwirner.&quot; title=&quot;Classicism pervades Jeff Koonss two new exhibitions. This sculpture is from Gazing Ball at David Zwirner.&quot; width=&quot;500&quot; height=&quot;500&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy David Zwirner Gallery and the artist&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Classicism pervades Jeff Koons&#39;s two new exhibitions. This sculpture is from &lt;a href=&quot;http://www.davidzwirner.com/exhibition/gazing-ball/&quot;&gt;&lt;em&gt;Gazing Ball&lt;/em&gt; at David Zwirner&lt;/a&gt;.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;Worth reading: On Hyperallergic Sunday,&lt;a href=&quot;http://hyperallergic.com/72955/why-jeff-koons-made-michael-jackson-white/?utm_medium=email&amp;utm_campaign=Shock+of+the+View+Seeing+and+Scene+at+the+Venice+Biennale+Artists+Anonymous&amp;utm_content=Shock+of+the+View+Seeing+and+Scene+at+the+Venice+Biennale+Artists+Anonymous+CID_1a3fae309326868799a9b593d05a5054&amp;utm_source=Newsletter&amp;utm_term=read%20it%20right%20now&quot;&gt; John Yau eviscerates two Jeff Koons shows&lt;/a&gt; now up in New York.&lt;/p&gt;
&lt;p&gt;What Yau is doing is reestablishing a line between classicism (as throwback) and modernism (as progressive). Yau is then applying the analogy politically, racially, economically, and spiritually, even going so far as to stage a match between Judeo-Christian and Greco-Roman god systems and declare a winner (&quot;The Judeo-Christian view, I daresay, is more consonant with reality, in which anything can happen for no understandable reason&quot;).&lt;/p&gt;
&lt;p&gt;I have absolutely no sympathy for or interest in Jeff Koons&#39;s work at this point. He has long been a cabin boy for the rich.&lt;/p&gt;
&lt;p&gt;And I appreciate Yau calling the Koons aesthetic out for what it is&amp;#8212;the worst kind of old-fashioned, the kind pretending to be modern. But at this point, does Koons really fool anybody besides the few who lay down zillions to own this stuff, anyway?&lt;/p&gt;
&lt;p&gt;Maybe he does. Museums and art-history classes surely still trot him out and buy him up. Yau&#39;s piece may be binary, but at least it does the service of pointing out the obvious: that Koons is irrelevant to the rest of us, that his aesthetic is based in a vision of the world that is not vision but rather blindness to change or the sort of deafness that comes from living in rooms padded with money.&lt;/p&gt;
&lt;p&gt;I still have to point out that one of the effects of a binary is that you can always simply put yourself on the side you like. Another way of looking at Koons is that his sniveling classicism is representative of a whole system of aggressive domestic assimilation (the slaughter of natives begets Gatsby) that created the blinding prosperity and power of American culture in the second half of the 20th century&amp;#8212;the prosperity and power that made us blind and deaf, many of us not shocked back into the world until September 2001 (at which point we set about stumbling around).&lt;/p&gt;
&lt;p&gt;I guess I can see myself on both sides of that divide, whether I can afford or would even like to be able to afford a Koons. Yau calls Koons a spectator sport, because it&#39;s really just a closed loop of rich playing with rich. I might suggest it&#39;s also a sport that many of us who&#39;ve not tasted poverty know how to play even if we sit on the sidelines. Anyway, &lt;a href=&quot;http://hyperallergic.com/72955/why-jeff-koons-made-michael-jackson-white/?utm_medium=email&amp;utm_campaign=Shock+of+the+View+Seeing+and+Scene+at+the+Venice+Biennale+Artists+Anonymous&amp;utm_content=Shock+of+the+View+Seeing+and+Scene+at+the+Venice+Biennale+Artists+Anonymous+CID_1a3fae309326868799a9b593d05a5054&amp;utm_source=Newsletter&amp;utm_term=read%20it%20right%20now&quot;&gt;good readin&#39;.&lt;/a&gt; Thanks, Yau.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/11/jeff-koons-white-preschooler-supplicant-to-the-white-one-percent#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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      <media:content
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        <media:title type="html">Jeff Koons, White Preschooler Supplicant to the White One Percent</media:title>
        <media:description>Classicism pervades Jeff Koons&#39;s two new exhibitions. This sculpture is from &lt;a href=&quot;http://www.davidzwirner.com/exhibition/gazing-ball/&quot;&gt;&lt;em&gt;Gazing Ball&lt;/em&gt; at David Zwirner&lt;/a&gt;.</media:description>
        <media:credit>Courtesy David Zwirner Gallery and the artist</media:credit>
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    <pubDate>Tue, 11 Jun 2013 09:11:27 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>We Have to Change, Humans Have to Change</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/10/we-have-to-change-humans-have-to-change</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;This is awful.&lt;/p&gt;
&lt;p&gt;&lt;iframe src=&quot;http://player.vimeo.com/video/25563376?title=0&amp;byline=0&amp;portrait=0&amp;color=808080&quot; width=&quot;500&quot; height=&quot;281&quot; frameborder=&quot;0&quot; webkitAllowFullScreen mozallowfullscreen allowFullScreen&gt;&lt;/iframe&gt; &lt;a href=&quot;http://vimeo.com/25563376&quot;&gt;MIDWAY : trailer : a film by Chris Jordan&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/midway&quot;&gt;Midway&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;&lt;br /&gt;That was the trailer for &lt;a href=&quot;http://www.chrisjordan.com/&quot;&gt;Chris Jordan&lt;/a&gt;&#39;s film &lt;em&gt;Midway&lt;/em&gt;.  He&#39;ll be showing &lt;del&gt;parts of&lt;/del&gt; the movie along with photographs and talking about &lt;strong&gt;three years of visiting Midway Island&lt;/strong&gt;, in the middle of the Pacific Ocean, which is choked with plastic, on &lt;a href=&quot;http://daily.sightline.org/2013/04/09/event-chris-jordan-journey-to-midway-island/&quot;&gt;the evening of June 19 at Town Hall&lt;/a&gt;. The birds you see are albatrosses.&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://daily.sightline.org/2013/04/09/event-chris-jordan-journey-to-midway-island/&quot;&gt;Go&lt;/a&gt;. No, &lt;a href=&quot;http://daily.sightline.org/2013/04/09/event-chris-jordan-journey-to-midway-island/&quot;&gt;really&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;I wrote a piece about Chris Jordan in 2009 called &lt;a href=&quot;http://www.thestranger.com/seattle/the-american-hero/Content?oid=1396320&quot;&gt;&lt;em&gt;The American Hero&lt;/em&gt;&lt;/a&gt;. I wrote then that I was &lt;strong&gt;rooting for him&lt;/strong&gt;, and I absolutely still am. This trailer was devastating. Simple, pure indictment.&lt;/p&gt;
&lt;p&gt;UPDATE: Sightline, the event&#39;s organizer, tells me that Jordan won&#39;t be showing parts of the movie, because he&#39;s entering it into festivals this fall. But he will be showing photographs from it and talking about it.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/10/we-have-to-change-humans-have-to-change#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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          <category>Enviro</category>
        
      
    
    

    
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    <pubDate>Mon, 10 Jun 2013 08:31:54 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>&quot;To be avoided like the plague.&quot;</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/06/to-be-avoided-like-the-plague</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;This year&#39;s Venice Biennale has the &lt;strong&gt;greatest African participation in history&lt;/strong&gt;, five countries hosting their own pavilions over the last edition&#39;s two. (Angola won the Golden Lion for best national participation with &lt;a href=&quot;http://www.bbc.co.uk/news/world-africa-22791617&quot;&gt;this exhibition of takeaway images&lt;/a&gt;.) But according to London-based Asian art specialist Wenny Teo, the Kenya display is &quot;&lt;a href=&quot;http://www.theartnewspaper.com/blogs/Neocolonialism-as-multiculturalism-at-the-Kenya-pavilion/29841&quot;&gt;a frightening manifestation of neo-colonialism vulgarly presented as multiculturalism&lt;/a&gt;.&quot;&lt;/p&gt;
&lt;p&gt;While we are generally on the subjects of wrongness and African nations and the primacy of Angola, here:&lt;/p&gt;
&lt;p&gt;&lt;div style=&quot;text-align:center;&quot;&gt;&lt;iframe width=&quot;500&quot; height=&quot;281&quot; src=&quot;http://www.youtube.com/embed/frVaYrvAY-Q&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;&lt;/div&gt;&lt;/p&gt;
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    <pubDate>Thu, 06 Jun 2013 13:26:38 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Currently Hanging: A Sneak Preview of Buster Simpson&#39;s Upcoming Survey at the Frye</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/06/currently-hanging-a-sneak-preview-of-buster-simpsons-upcoming-survey-at-the-frye</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/be7a/1370535361-frye_entrance2-6724.jpeg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/be7a/1370535361-frye_entrance2-6724.jpeg&quot; alt=&quot;Frye_entrance2-6724.jpeg&quot; title=&quot;&quot; width=&quot;500&quot; height=&quot;340&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;This is the first thing you see when you approach the Frye Art Museum these days. I don&#39;t know much more about it yet. Buster Simpson, the artist, says it weighs 3,000 pounds and it went into the reflecting pool three days ago in what I hear was a wild display involving a crane and the potential breakage of window glass.&lt;/p&gt;
&lt;p&gt;The veteran Seattle artist is taking over the place, inside and out. His survey exhibition, &lt;a href=&quot;http://fryemuseum.org/exhibition/5093/&quot;&gt;&lt;em&gt;Surveyor&lt;/em&gt;&lt;/a&gt;, opens June 15. Rather than printed wall labels, &lt;strong&gt;he hand-wrote the wall labels on chunks of drywall&lt;/strong&gt; recycled from when the Frye dismantled its last show.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:412px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/efa1/1370535869-img_0840.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/efa1/1370535869-img_0840.jpg&quot; alt=&quot;IMG_0840.jpg&quot; title=&quot;&quot; width=&quot;400&quot; height=&quot;534&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;Simpson&#39;s first act inside the museum was &lt;strong&gt;taking an ax to its walls&lt;/strong&gt;. He carved two parallel leaning slashes, the hobo symbol for &quot;anything goes,&quot; in the process revealing layers of colored paint from earlier exhibitions on that wall. Rodrigo Valenzuela, another Seattle artist (and &lt;a href=&quot;http://www.thestranger.com/seattle/2013-visual-art-genius-award-finalists/Content?oid=16948765&quot;&gt;nominee for this year&#39;s Stranger Genius Award&lt;/a&gt;), was there when Simpson did it, and made a trailer for the exhibition:&lt;/p&gt;
&lt;p&gt;&lt;div style=&quot;text-align:center;&quot;&gt;&lt;iframe src=&quot;http://player.vimeo.com/video/66983916?title=0&amp;amp;byline=0&amp;amp;portrait=0&amp;amp;color=808080&quot; width=&quot;500&quot; height=&quot;281&quot; frameborder=&quot;0&quot; webkitAllowFullScreen mozallowfullscreen allowFullScreen&gt;&lt;/iframe&gt; &lt;p&gt;&lt;a href=&quot;http://vimeo.com/66983916&quot;&gt;Buster Simpson&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/rodrigov&quot;&gt;Rodrigo valenzuela&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&lt;/div&gt;&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/06/currently-hanging-a-sneak-preview-of-buster-simpsons-upcoming-survey-at-the-frye#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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        <media:title type="html">&lt;b&gt;Currently Hanging&lt;/b&gt;: A Sneak Preview of Buster Simpson&#39;s Upcoming Survey at the Frye</media:title>
        <media:description></media:description>
        <media:credit>Courtesy the artist</media:credit>
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    <pubDate>Thu, 06 Jun 2013 09:33:42 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>The Art of the Macklemorecene Era</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/06/the-art-of-the-macklemorecene-era</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/29dc/1370497358-edson-oikonomos.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/29dc/1370497358-edson-oikonomos.jpg&quot; alt=&quot;Edson Chagas of Angola won the coveted Golden Lion Award in Venice this year. Hes a photojournalist for a newspaper, and his main series showing at Venice is Found, Not Taken. This straight-ahead yet topsy-turvy portrait is from another of his series, Oikonomos, from the Greek word meaning one who manages a household thriftily. Is Chagas an outsider? Is the subject of this photograph an outsider?&quot; title=&quot;Edson Chagas of Angola won the coveted Golden Lion Award in Venice this year. Hes a photojournalist for a newspaper, and his main series showing at Venice is Found, Not Taken. This straight-ahead yet topsy-turvy portrait is from another of his series, Oikonomos, from the Greek word meaning one who manages a household thriftily. Is Chagas an outsider? Is the subject of this photograph an outsider?&quot; width=&quot;500&quot; height=&quot;330&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Edson Chagas of Angola won the coveted Golden Lion Award in Venice this year. He&#39;s a photojournalist for a newspaper, and his main series showing at Venice is &lt;em&gt;Found, Not Taken&lt;/em&gt;. This straight-ahead yet topsy-turvy portrait is from another of his series, &lt;em&gt;Oikonomos&lt;/em&gt;, from the Greek word meaning one who manages a household thriftily. Is Chagas an outsider? Is the subject of this photograph an outsider?&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;This year&#39;s curator at the Venice Biennale is Massimiliano Gioni, who is 39 and says you might see his big, main show, &lt;em&gt;The Encyclopedic Palace&lt;/em&gt;, as &lt;a href=&quot;http://galleristny.com/2013/06/welcome-to-his-palace-how-venice-biennale-curator-massimiliano-gioni-is-making-everything-work-for-him/2/&quot;&gt;a thrift-store biennial&lt;/a&gt; for all its found material. There&#39;s an 11-foot scale model of a skyscraper, built by a self-taught Italian American who by day ran an auto body shop and intended this skyscraper to contain all of human achievement. Hence the exhibition&#39;s title. There are one hundred and seventy six model houses made by one man, Peter Fritz, found in a junk store. A proliferation of figurines by an artist with autism. &quot;Outsiderness&quot; seems in some ways to be defined by quantity.&lt;/p&gt;
&lt;p&gt;This is not the first time a biennial has been called a &quot;thrift-shop biennial,&quot; but &lt;a href=&quot;http://www.artnet.com/magazineus/features/finch/thrift-shop-biennial12-11-09.asp&quot;&gt;when Charlie Finch coined the phrase&lt;/a&gt; about the 2010 Whitney show, he didn&#39;t mean it in the same way. He meant that the objects wore a kind of low-rent-ness, a certain Arte Povera-quoi.&lt;/p&gt;
&lt;p&gt;Gioni&#39;s Venetian &quot;outsiderness&quot; is about mass groupings, obscurity, a lack of art intentions (witness Tantric paintings, ex-votos). As &lt;a href=&quot;http://www.nytimes.com/2013/06/06/arts/design/venice-biennale-in-its-55th-edition.html?ref=venicebiennale&quot;&gt;Holland Cotter pointed out&lt;/a&gt;, the whole outsider category is not only shopworn but &quot;ethically suspect.&quot; I&#39;d like to add that attempting a wunderkammern that might best the magicalwonderland of 2009&#39;s &lt;em&gt;Artempo&lt;/em&gt; at the Palazzo Fortuny (about which I posted &lt;a href=&quot;http://slog.thestranger.com/2007/09/the_best_art_show_ever_part_vi&quot;&gt;a six-part Slog series at the time&lt;/a&gt;) seems a risky gambit.&lt;/p&gt;
&lt;p&gt;Gioni seems to have a broader vision, less about outsiderness and more about blurring. Is this the old eraser being taken to the art-life dividing line again?&lt;/p&gt;
&lt;p&gt;He told GalleristNY that &quot;there is a confusion about who is an artist and what is an artwork.&quot;&lt;/p&gt;
&lt;p&gt;It reminds me of a recent interview I read with &lt;strong&gt;the artist Corin Hewitt&lt;/strong&gt;, who I think of as wise, and who has shown several times in Seattle (my podcast with him &lt;a href=&quot;http://www.thestranger.com/InVisible/archives/2009/04/22/invisible-corin-hewitt-the-desire-and-anxiety-of-reproduction-and-decay&quot;&gt;here&lt;/a&gt;), &lt;a href=&quot;http://burnaway.org/2013/02/an-ongoing-investigation-interview-with-corin-hewitt/&quot;&gt;conducted by Rusty Wallace on Burnaway&lt;/a&gt;. &lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;CH: Except I feel like I have no interest at all in relational works. For me, the separation between the experience of life and the experience of an artwork is crucial. Because we can&amp;#8217;t experience representation, unless it&amp;#8217;s defined, in my mind. I really try to make a clear delineation between life and art. Even though much of my art is drawing from experiences that I&amp;#8217;ve found in my life.&lt;/p&gt;
&lt;p&gt;RW: Right.&lt;/p&gt;
&lt;p&gt;CH: But the experience of the artwork is always one I&amp;#8217;m really interested in. &lt;strong&gt;I really believe and have faith in the art experience.&lt;/strong&gt; And for that reason, I don&amp;#8217;t imagine really doing work where it pretends or has a facade of normative life.&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;The eternal debate continues.&lt;/p&gt;
&lt;p&gt;Meanwhile, &lt;em&gt;The Art Newspaper&lt;/em&gt; is &lt;strong&gt;also using Venice as an occasion to write about outsiderness&lt;/strong&gt; (&quot;&lt;a href=&quot;http://www.theartnewspaper.com/articles/Outsiders-no-more/29618&quot;&gt;Outsiders No More&lt;/a&gt;&quot;):&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;Andrew Edlin, the Chelsea art dealer who recently took over the Outsider Art Fair&amp;#8212;tripling attendance in his first year&amp;#8212;says collectors are now looking for &lt;strong&gt;more authentic types of art&lt;/strong&gt;, regardless of whether the artist is self-taught or schooled at art college. &amp;#8220;For a long time the art world thumbed its nose at authenticity,&amp;#8221; he says. &amp;#8220;Maybe that&amp;#8217;s run its course.&amp;#8221;&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;Uh-oh. &lt;strong&gt;Authenticity is being declared &quot;in.&quot;&lt;/strong&gt; Irony backlash in 3, 2...&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/06/the-art-of-the-macklemorecene-era#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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      </description>
      
        
          <category>Visual Art</category>
        
      
    
    

    
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      <media:content
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        <media:title type="html">Macklemore, Meet Massimiliano</media:title>
        <media:description>Edson Chagas of Angola won the coveted Golden Lion Award in Venice this year. He&#39;s a photojournalist for a newspaper, and his main series showing at Venice is &lt;em&gt;Found, Not Taken&lt;/em&gt;. This straight-ahead yet topsy-turvy portrait is from another of his series, &lt;em&gt;Oikonomos&lt;/em&gt;, from the Greek word meaning one who manages a household thriftily. Is Chagas an outsider? Is the subject of this photograph an outsider?</media:description>
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    <pubDate>Thu, 06 Jun 2013 08:27:13 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Currently Hanging: David Byrd&#39;s Painting on the Cover of The Stranger</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/05/currently-hanging-david-byrds-painting-on-the-cover-of-the-stranger</link>
    <guid isPermaLink="true">http://slog.thestranger.com/slog/archives/2013/06/05/currently-hanging-david-byrds-painting-on-the-cover-of-the-stranger</guid>

    
    
      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/b5b3/1370453827-byrd_man-undressing-shirt_272_28x21_web.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/b5b3/1370453827-byrd_man-undressing-shirt_272_28x21_web.jpg&quot; alt=&quot;Man Undressing Shirt, 1994, oil on canvas, 26 by 21 inches.&quot; title=&quot;Man Undressing Shirt, 1994, oil on canvas, 26 by 21 inches.&quot; width=&quot;500&quot; height=&quot;592&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy Greg Kucera Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;em&gt;Man Undressing Shirt&lt;/em&gt;, 1994, oil on canvas, 26 by 21 inches.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;In honor of the life and art of &lt;a href=&quot;http://www.gregkucera.com/byrd.htm&quot;&gt;David Byrd&lt;/a&gt;, the 87-year-old artist who came out of seclusion and became known to the world in April and then &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/05/31/so-long-david-byrd&quot;&gt;died last Thursday&lt;/a&gt; just days after his first-ever gallery exhibition sold more than 75 out of 100 paintings on display, we decided to run one of his paintings as the cover of this week&#39;s &lt;em&gt;Stranger&lt;/em&gt;.&lt;/p&gt;
&lt;p&gt;We picked the one above, with its funny title &lt;em&gt;Man Undressing Shirt&lt;/em&gt;, which is linguistically as jumbled as the visual tangle of this man and his plain white T-shirt. Or is it a T-shirt? How is he getting it so wrong, and why is that opening so stretched open and taut? &lt;strong&gt;It looks like a birth&lt;/strong&gt;.&lt;/p&gt;
&lt;p&gt;The composition is a striking gathering of &lt;strong&gt;floating shapes&lt;/strong&gt;: parallel diagonal lines of arm and shirt, topped off with the elbow triangle. Three echoing shaded spheres (two armholes and head). The arcing sweep up and over of the stretch of the fabric. Those stubs of fingers.&lt;/p&gt;
&lt;p&gt;Aaron Huffman, art director of &lt;em&gt;The Stranger&lt;/em&gt;, scrolled several times through &lt;strong&gt;every single Byrd image&lt;/strong&gt; on the extensive Greg Kucera Gallery web site in order to choose one for the cover. Some of Byrd&#39;s paintings are charming, hearty 1930s-style scenes, but most were inspired by more harrowing stuff: Byrd&#39;s decades working as an orderly in the mental ward of a VA hospital in central New York.&lt;/p&gt;
&lt;p&gt;In a phone conversation between the two floors of our office just now, Huffman described what drew him to &lt;em&gt;Man Undressing Shirt&lt;/em&gt;:&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;It seems to be an interesting little everyday slice of life, just the everyday difficulty of this person getting into and out of their clothes. That simple image of just one person was really interesting to me, maybe more than some of his paintings with the multiple people in them.&lt;/p&gt;
&lt;p&gt;Another one [I considered] was &lt;a href=&quot;http://www.thestranger.com/images/blogimages/2013/06/05/1370459259-byrd_nurse-and-patient.273_web.jpg&quot;&gt;the man and the nurse, I think they were holding hands&lt;/a&gt;. I found those really simple ones to be the most interesting. I think there was another one, &lt;a href=&quot;http://www.thestranger.com/images/blogimages/2013/06/05/1370460487-screen_shot_2013-06-05_at_12.25.33_pm.png&quot;&gt;of a man unbuttoning his shirt or his cuffs or something&lt;/a&gt;, and it just being a hard task for him to do, this simple thing. I just thought that was kind of fascinating.&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;There are exceptions, Huffman says, but he generally looks for &quot;something with one clear focus in the image... something you can stop on the street and look at and sort of recognize right away, but that is still intriguing, like &lt;strong&gt;you have to get a little closer&lt;/strong&gt; to find out what&#39;s going on.&quot;&lt;/p&gt;
&lt;p&gt;I&#39;ve always found it pretty freaking great that &lt;em&gt;The Stranger&lt;/em&gt; runs art on its cover, sometimes art by local artists that then papers the city right when the artist is having a show. Every week this newspaper reminds you to look at art by asking you to do that before you interact with anything we&#39;ve written. I dig that. This week &lt;strong&gt;it just feels good&lt;/strong&gt; to be able to have one of David Byrd&#39;s images out front, and it seems to me this one was a perfect cover for all the reasons Huffman singled out.&lt;/p&gt;
&lt;p&gt;Sometimes people ask me why I don&#39;t write more&amp;#8212;or sometimes at all&amp;#8212;about the artists on our covers, and Huffman and I are talking about doing a &lt;strong&gt;Q&amp;A between art director and art critic&lt;/strong&gt;. We&#39;d talk about: How does he pick covers, and how is it different from how I pick shows or works to review or write about? What does he think are some of the great covers of the past, and some of the most blah? Or what do you want to know? &lt;strong&gt;Leave any ideas and questions in the comments&lt;/strong&gt;, and we&#39;ll see if there&#39;s enough interest to drum up a piece.&lt;/p&gt;
&lt;p&gt;Want to submit art for a cover? &lt;a href=&quot;mailto:aaronh@thestranger.com&quot;&gt;Email Huffman&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;Here&#39;s one more of those simple pictures Huffman was describing.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/images/blogimages/2013/06/05/1370460667-byrd_man-and-chair_226_16x20_web.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/images/blogimages/2013/06/05/thumb-1370460667-byrd_man-and-chair_226_16x20_web.jpg&quot; alt=&quot;David Byrd, Man and Chair.&quot; title=&quot;David Byrd, Man and Chair.&quot; width=&quot;500&quot; height=&quot;396&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy Greg Kucera Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;David Byrd, &lt;em&gt;Man and Chair&lt;/em&gt;.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/05/currently-hanging-david-byrds-painting-on-the-cover-of-the-stranger#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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      </description>
      
        
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      <media:content
        url="http://www.thestranger.com/imager//b/original/16956389/b5b3/1370453827-byrd_man-undressing-shirt_272_28x21_web.jpg"
        fileSize="232785"
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        <media:title type="html">&lt;b&gt;Currently Hanging&lt;/b&gt;: David Byrd&#39;s Painting on the Cover of &lt;em&gt;The Stranger&lt;/em&gt;</media:title>
        <media:description>&lt;em&gt;Man Undressing Shirt&lt;/em&gt;, 1994, oil on canvas, 26 by 21 inches.</media:description>
        <media:credit>Courtesy Greg Kucera Gallery</media:credit>
        <media:thumbnail
          url="http://www.thestranger.com/imager//b/square/16956389/b5b3/1370453827-byrd_man-undressing-shirt_272_28x21_web.jpg"
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    <pubDate>Wed, 05 Jun 2013 12:26:46 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Anne Fenton Wins the Brink Award</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/05/anne-fenton-wins-the-brink-award</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;Word just came in last night that &lt;strong&gt;Anne Fenton&lt;/strong&gt; won &lt;a href=&quot;http://www.henryart.org/Brink&quot;&gt;the Brink Award&lt;/a&gt;. Congratulations, Anne! She&#39;ll get $12,500 and a solo exhibition at the Henry Art Gallery in the spring.&lt;/p&gt;
&lt;p&gt;Fenton formerly worked under her maiden name, Mathern, so you may know her that way. At first, she made highly stylized photographs. She branched out quickly into video, sculpture, collaborations. &lt;a href=&quot;http://www.thestranger.com/seattle/be-awesome/Content?oid=62831&quot;&gt;She ran Crawl Space&lt;/a&gt;, working her ass off for other artists, and &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2009/10/14/noooooo&quot;&gt;got exhausted doing it&lt;/a&gt;. Then she worked the desk, also for years it seemed like, at Western Bridge, the private collection space of Bill and Ruth True that closed last fall. (These days her day job is overseeing retail at Ruth True&#39;s Capitol Hill store Nube Green, which &lt;a href=&quot;http://nubegreen.com/&quot;&gt;according to its web site&lt;/a&gt; is shuttered for renovations until June 10.)&lt;/p&gt;
&lt;p&gt;Keeping up with her day jobs, Fenton has been almost invisible in the last few years in Seattle, which has been a drag.&lt;/p&gt;
&lt;p&gt;I have no idea whether she subscribes to this idea, so this may or may not apply&amp;#8212;I need to ask her: She came of age with a group of artists who sometimes subscribe to the theory that productivity is a slavish practice given a productivity-obsessed, wildly unequal world, and that making things for people to see is in some ways worse than making nothing at all.&lt;/p&gt;
&lt;p&gt;I am both deeply irritated when wealthy collectors lick their lips at this approach, and deeply irritated by the definition of an artist as being limited to somebody who produces things, however dumb. &lt;/p&gt;
&lt;p&gt;Don&#39;t get me wrong: there are good reasons for dropping out.&lt;strong&gt; I have sometimes considered writing a piece on Seattle&#39;s Nonmakers&lt;/strong&gt;. They sometimes resurface later, like Sarah Bergmann, who won the Genius Award in Art last year for her &lt;em&gt;Pollinator Pathway&lt;/em&gt; after several years just taking time away from what can be the very ungood world of art.&lt;/p&gt;
&lt;p&gt;I guess you could call me a Fenton partisan, insofar as she has made things that have made me feel humongously grateful that they exist, and that&#39;s saying a lot.&lt;/p&gt;
&lt;p&gt;The last big show she was in was &lt;em&gt;Moment Magnitude&lt;/em&gt; at the Frye, with two pieces: &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2012/10/13/good-job-whatshertits-anne-fenton&quot;&gt;a light-show-installation involving a locally produced treatment for depression and a video in which she took the reins of an Iggy Pop song&lt;/a&gt;. (Who takes the reins from Iggy Pop?) Back in 2008, she and Chad Wentzel had a stunning show at Crawl Space (I could have sworn I wrote more about it than just &lt;a href=&quot;http://slog.thestranger.com/2008/11/today_the_stranger_suggests_582-iphone&quot;&gt;this Suggests&lt;/a&gt;).&lt;/p&gt;
&lt;p&gt;I also wrote about it when I thought that &lt;a href=&quot;http://www.thestranger.com/seattle/Content?oid=297486&quot;&gt;her mature work was ahead of her, yet the hype was deafening&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;Basically, I always want more of Fenton and from her, and I respect her. I think her statement in the announcement for the Brink Award is jargony bullshit and gives no sense of what she&#39;s like in her best moments, which are kind of magical in a childlike way but also sad and adult and tired: &quot;In my current practice, appropriation and collaboration allow for a re-authoring of images and ideas. Objects and images that pass into the work often pass between strangers or materialize through translation and memory.&quot; Not that this is different from what usually passes for words about art from a museum, but still, our eyes have to roll across it and I&#39;m in the mood to ask for more.&lt;/p&gt;
&lt;p&gt;Congratulations, Anne. Now that the Neddy Award is established in its new incarnation and location, and the Brink is past its infancy, we can start talking about what these awards are about and for.&lt;/p&gt;
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          <category>Visual Art</category>
        
      
    
    

    
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    <pubDate>Wed, 05 Jun 2013 08:29:41 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Wish You Were There?</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/04/wish-you-were-there</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;Follow &lt;em&gt;The Art Newspaper&lt;/em&gt;&#39;s &lt;a href=&quot;http://www.theartnewspaper.com/venice&quot;&gt;Venice blog&lt;/a&gt; or &lt;a href=&quot;https://twitter.com/TheArtNewspaper&quot;&gt;Twitter feed&lt;/a&gt; to keep up with what&#39;s happening at the Venice Biennale right now. It&#39;s like ice cream for art lovers.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/04/wish-you-were-there#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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    <pubDate>Tue, 04 Jun 2013 15:11:11 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Soon to Be Hanging: Mark Calderon&#39;s Sculptures of Hollowness, Spine Repair Tape, and Self-Pleasure</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/04/soon-to-be-hanging-mark-calderons-sculptures-of-hollowness-spine-repair-tape-and-self-pleasure</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;On Thursday night at Greg Kucera Gallery, two shows are opening. Here at &lt;em&gt;The Stranger&lt;/em&gt;, we&#39;ve made some hay already out of &lt;a href=&quot;http://www.gregkucera.com/markovitz.htm&quot;&gt;Sherry Markovitz&#39;s exhibition&lt;/a&gt;, because &lt;a href=&quot;http://www.thestranger.com/seattle/Special/Genius&quot;&gt;she&#39;s up for a Genius Award&lt;/a&gt;, but the second exhibition promises to be completely intriguing, too, and I don&#39;t want it to go overlooked. It&#39;s &lt;a href=&quot;http://www.gregkucera.com/calderon.htm&quot;&gt;sculptures of hollowness by longtime Seattle artist Mark Calderon&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;Calderon&#39;s title is &lt;em&gt;Nothing Is As Eloquent As Nothing&lt;/em&gt;, and I love his simple, direct artist statement:&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;The works in this show ranges from realistic and figurative to abstract, and they are executed in many different media. Three works are based on the human figure, two represent articles of clothing, one portrays Lake Washington, and some recede into the wall.&lt;/p&gt;
&lt;p&gt;As I was working on this exhibition I realized that much of the work seems to be about hollowness. I have explored this idea in the past and am repeatedly drawn to it. Sometimes it is a physical hollowness, but I am also trying to expose a hollowness of spirit, a sense of emptiness or longing.&lt;/p&gt;
&lt;p&gt;I regard myself as very lucky and quite happy overall. Yet at times of quiet reflection I can sometimes connect with a profound sadness. Its origin has always seemed mysterious and slightly out of reach of my understanding. I grew up in a family that was not emotive, so as an adult I appreciate the gift of being able to feel emotions deeply. I feel this way even about difficult emotions like sadness and loss.&lt;/p&gt;
&lt;p&gt;Some of this work responds specifically to personal losses of the last few years. Other pieces were inspired by recent global events. As in much of my previous work, I have looked to art of the past as I have sought to create a personal expression of these feelings.&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;Here is a man engaged an endless-shaped self-pleasure that does not necessarily appear pleasurable (look at that stretch in the spine; you can feel the muscles and tendons pulling). He&#39;s made of cast bronze and called &lt;em&gt;Ourobouros&lt;/em&gt;.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:412px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/5137/1370377525-calde_oroboros_web.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/5137/1370377525-calde_oroboros_web.jpg&quot; alt=&quot;calde_oroboros_web.jpg&quot; title=&quot;&quot; width=&quot;400&quot; height=&quot;542&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Images courtesy of the artist and Greg Kucera Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;And here is &lt;em&gt;Untitled (hoodie)&lt;/em&gt;, made of &quot;black spine repair tape,&quot; clearly referencing Trayvon Martin. &quot;Spine repair tape&quot; refers to &lt;strong&gt;tape capable of repairing book spines, not human spines&lt;/strong&gt;. The play on words is painful, and again, here is a spine strained, in a different way.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:312px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/45eb/1370377645-calde_untitled_sm.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/45eb/1370377645-calde_untitled_sm.jpg&quot; alt=&quot;calde_untitled_sm.jpg&quot; title=&quot;&quot; width=&quot;300&quot; height=&quot;452&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;For more information about Markovitz&#39;s work and the other Genius nominees, please join us August 7 for the visual art evening of &lt;a href=&quot;http://www.strangertickets.com/events/7763589/five-nights-of-genius-at-the-frye&quot;&gt;Five Nights of Genius at the Frye&lt;/a&gt;.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/04/soon-to-be-hanging-mark-calderons-sculptures-of-hollowness-spine-repair-tape-and-self-pleasure#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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      </description>
      
        
          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">&lt;b&gt;Soon to Be Hanging&lt;/b&gt;: Mark Calderon&#39;s Sculptures of Hollowness, Spine Repair Tape, and Self-Pleasure</media:title>
        <media:description></media:description>
        <media:credit>Images courtesy of the artist and Greg Kucera Gallery</media:credit>
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    <pubDate>Tue, 04 Jun 2013 14:24:59 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Lend Me Some Sugar. I Am Your Lifeguard.</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/04/lend-me-some-sugar-i-am-your-lifeguard</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;After art walk this Thursday night, get yourself up to 420 Pike Street for &lt;a href=&quot;http://www.strangertickets.com/events/7694448/night-of-a-bunch-of-geniuses&quot;&gt;our fake beach party kicking off GENIUS SEASON&lt;/a&gt;. We will drink absurd drinks, listen to the gentle rustling of grass skirts, and &lt;strong&gt;celebrate and raise money for great local artists&lt;/strong&gt;.&lt;/p&gt;
&lt;p&gt;I&#39;ll be the one in the lifeguard getup.&lt;/p&gt;
&lt;p&gt;It will be like &lt;em&gt;both&lt;/em&gt; of these:&lt;/p&gt;
&lt;p&gt;&lt;div style=&quot;text-align:center;&quot;&gt;&lt;iframe width=&quot;420&quot; height=&quot;315&quot; src=&quot;http://www.youtube.com/embed/_-jBdfLHjzc&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;&lt;div style=&quot;text-align:center;&quot;&gt;&lt;iframe width=&quot;500&quot; height=&quot;281&quot; src=&quot;http://www.youtube.com/embed/y9iq1Jq0th8&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://www.strangertickets.com/events/7694448/night-of-a-bunch-of-geniuses&quot;&gt;Do not resist&lt;/a&gt;.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/04/lend-me-some-sugar-i-am-your-lifeguard#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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          <category>Arts</category>
        
          <category>Visual Art</category>
        
          <category>Genius</category>
        
      
    
    

    
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    <pubDate>Tue, 04 Jun 2013 13:46:29 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>A BIG First Thursday Is Here</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/04/a-big-first-thursday-is-here</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;I count &lt;strong&gt;twenty-eight art openings happening downtown&lt;/strong&gt; on Thursday night, on a day that is supposed to get up to &lt;a href=&quot;http://www.weather.com/weather/tenday/USWA0395&quot;&gt;seventy-seven degrees&lt;/a&gt;, and at least &lt;a href=&quot;http://www.bryanohno.com/&quot;&gt;two&lt;/a&gt; of &lt;a href=&quot;http://www.thestranger.com/seattle/Event?event=16941448&quot;&gt;them&lt;/a&gt; are entirely brand-new galleries, at least &lt;a href=&quot;http://www.gregkucera.com/&quot;&gt;one other one&lt;/a&gt; features a nominee for this year&#39;s Stranger Genius Award, and from there on out you&#39;ve got second amendment art, John Lennon&#39;s art, art involving cracks in sidewalks, big ol&#39; art costing tens of thousands of dollars by a glass master coming out of seclusion, and a show of &lt;a href=&quot;http://www.57biscayne.com/57biscayne/events.html&quot;&gt;Pioneer Square&#39;s oldest life-drawing session&lt;/a&gt; (with the title &lt;em&gt;Nudes, Wine, and Conversation&lt;/em&gt;, a title that could probably describe a lot of art shows but yet somehow has a slightly creepy freshness to it; amirite?).&lt;/p&gt;
&lt;p&gt;Here&#39;s a little something from the new Roq La Rue group invitational &lt;a href=&quot;http://www.roqlarue.com/index.php?module=Exhibits&amp;id=87&quot;&gt;&lt;em&gt;Otherworld&lt;/em&gt;&lt;/a&gt;, with artists including Casey Curran, Chris Behrens, Chie Yoshii, and lots more. This one is by &lt;a href=&quot;http://hifructose.com/2012/07/23/peter-fergusons-fantastic-oil-paintings/&quot;&gt;Peter Ferguson&lt;/a&gt;, and it pairs well with the &lt;a href=&quot;http://www.ggibsongallery.com/artists/blackmon/index.html&quot;&gt;painterly photographs of Julie Blackmon, at G. Gibson Gallery&lt;/a&gt;, also below.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:412px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/58d9/1370372262-4bcba59330348b4722454ceecb28518d.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/58d9/1370372262-4bcba59330348b4722454ceecb28518d.jpg&quot; alt=&quot;By Peter Ferguson, at Roq La Rue Gallery opening Thursday.&quot; title=&quot;By Peter Ferguson, at Roq La Rue Gallery opening Thursday.&quot; width=&quot;400&quot; height=&quot;503&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist and Roq La Rue Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;By Peter Ferguson, at Roq La Rue Gallery opening Thursday.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:489px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/524e/1370372402-181903_mediumlarger.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/524e/1370372402-181903_mediumlarger.jpg&quot; alt=&quot;Julie Blackmons photograph Sharpie, at G. Gibson Gallery.&quot; title=&quot;Julie Blackmons photograph Sharpie, at G. Gibson Gallery.&quot; width=&quot;477&quot; height=&quot;350&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist and G. Gibson Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Julie Blackmon&#39;s photograph &lt;em&gt;Sharpie&lt;/em&gt;, at G. Gibson Gallery.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;I also highly recommend checking out &lt;a href=&quot;http://www.thestranger.com/seattle/Event?event=16903320&quot;&gt;the release party for the new edition of ARCADE magazine&lt;/a&gt;, because it&#39;s taking place at &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/03/14/culture-in-south-lake-union&quot;&gt;the new, still-under-construction Mad Art space in South Lake Union&lt;/a&gt; that I wrote about on this here blog, and y&#39;all seemed highly interested in. There will be &lt;a href=&quot;http://www.evanblackwell.com/lifecycle.html&quot;&gt;neat art involving decommissioned military balloons inflating and deflating, by Evan Blackwell&lt;/a&gt; (you may have seen Blackwell&#39;s work in this vein at Foster/White). &lt;/p&gt;
&lt;p&gt;*I have &lt;strong&gt;juicy instructions&lt;/strong&gt; for what you should do &lt;em&gt;after&lt;/em&gt; art walk, coming up...&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/04/a-big-first-thursday-is-here#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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          <category>Visual Art</category>
        
      
    
    

    
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        <media:title type="html">A BIG First Thursday Is Here</media:title>
        <media:description>By Peter Ferguson, at Roq La Rue Gallery opening Thursday.</media:description>
        <media:credit>Courtesy the artist and Roq La Rue Gallery</media:credit>
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    <pubDate>Tue, 04 Jun 2013 12:05:49 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>A Million Dollars (Plus A Half-Million More in Matching Funds) to the Glass Museum</title>
    <link>http://slog.thestranger.com/slog/archives/2013/06/03/a-million-dollars-plus-a-half-million-more-in-matching-funds-to-the-glass-museum</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;In jealous-making news, &lt;strong&gt;the 11-year-old Museum of Glass in Tacoma&lt;/strong&gt; announces today a gift of $1 million from the Weyerhaeuser Family to start the &lt;strong&gt;George Weyerhaeuser, Jr. Memorial Endowment Fund&lt;/strong&gt;, with an additional $500,000 pledged in matching funds for gifts of up to $100,000 for the museum&#39;s endowment.&lt;/p&gt;
&lt;p&gt;Weyerhaeuser, Jr. died suddenly in April of a heart attack at 59, and he always seemed like a decent fellow, businessy but with &lt;strong&gt;a nice dose of nerdy&lt;/strong&gt; and a certain modesty about him, too. RIP, sir.&lt;/p&gt;
&lt;p&gt;Unlike most nonprofit arts organizations, the Museum of Glass did not start small and grow&amp;#8212;it was &lt;strong&gt;born fully formed in 2002&lt;/strong&gt; as the biggest-budget arts organization in the entire city of Tacoma. It has experienced various changes since then, and contracted some for sure, but today it has both some good news about sustainable finances and a strong executive director in former education head &lt;strong&gt;Susan Warner&lt;/strong&gt;. Right now it&#39;s featuring &lt;a href=&quot;http://museumofglass.org/exhibitions/links&quot;&gt;an exhibition of 21 Australian and 5 Northwest glass artists&lt;/a&gt;, and best of all, &lt;a href=&quot;http://museumofglass.org/event-calendar&quot;&gt;there are always artists visiting to work in the hot shop&lt;/a&gt; inside the building&#39;s iconic cone.&lt;/p&gt;
&lt;p&gt;Insanely, &lt;a href=&quot;http://museumofglass.org/glassmaking/live-from-the-hot-shop&quot;&gt;here&lt;/a&gt; is a &lt;strong&gt;live video feed&lt;/strong&gt; from the hot shop!&lt;/p&gt;
&lt;p&gt;Just curious: When&#39;s the last time &lt;em&gt;you&lt;/em&gt; were there?&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/06/03/a-million-dollars-plus-a-half-million-more-in-matching-funds-to-the-glass-museum#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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    <pubDate>Mon, 03 Jun 2013 16:47:24 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>So Long, David Byrd</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/31/so-long-david-byrd</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/1fa4/1370030786-byrd_man-waving_071_12x15_web.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/1fa4/1370030786-byrd_man-waving_071_12x15_web.jpg&quot; alt=&quot;David Byrd, Man Waving, 1997, 12 by 15 inches.&quot; title=&quot;David Byrd, Man Waving, 1997, 12 by 15 inches.&quot; width=&quot;500&quot; height=&quot;407&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy Greg Kucera Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;David Byrd, &lt;em&gt;Man Waving&lt;/em&gt;, 1997, 12 by 15 inches.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;It hasn&#39;t even been two months since &lt;strong&gt;the world found out about David Byrd&lt;/strong&gt;, the artist and recluse. And now he&#39;s gone again.&lt;/p&gt;
&lt;p&gt;David Byrd died at 12:30 am on Thursday. He&#39;d had lung cancer that spread. He was 87. Doctors diagnosed the cancer just before his first-ever plane flight, to Seattle, for the opening of the only gallery exhibition he would ever have.&lt;/p&gt;
              &lt;p&gt;The show was at Greg Kucera Gallery in Pioneer Square. It was a dream for Byrd and a singular honor for Kucera. Byrd worried nothing would sell, that it would not be worth all the fuss. He had to be reassured along the way. The opening was, for him, a thrill beyond what he could have imagined. On the other side of the event was Kucera, who, after Byrd had flown back to his little hamlet in central New York, one day described the whole experience to me as the most successful exhibition he&#39;s ever organized.&lt;/p&gt;
&lt;p&gt;Kucera wasn&#39;t saying Byrd was a cash cow; the pieces were modestly priced. But the sheer response was overwhelming. Word of mouth kept streams of people running through. &quot;Have you seen the Byrd yet?&quot; I kept hearing people saying in galleries along the streets of Pioneer Square. And sales were a stunning surprise. Kucera, reassuring a nervous Byrd, had thought maybe 20 of the 100 paintings, drawings, and sculptures on display would end up selling. In the end, more than 75 of Byrd&#39;s 100 pieces sold.&lt;/p&gt;
&lt;p&gt;Byrd&#39;s paintings had both soul and style. (I wrote about it &lt;a href=&quot;http://www.thestranger.com/seattle/a-vast-empathy/Content?oid=16403014&lt;br /&gt;&quot;&gt;here&lt;/a&gt;.) He took as his subject matter his memories from days gone by: Nights outside the movie theater where his mother was a ticket taker when he was a child in Brooklyn. Days at the Coney Island of the 1930s. All those years of swing shifts as an orderly on the mental ward of a VA hospital.&lt;/p&gt;
&lt;p&gt;He spent his final years in Sidney Center, in a house he&#39;d built and stacked with his own paintings, many of them depicting the struggling patients who continued to live in his memory. He was &quot;discovered&quot; by another artist who happened to live nearby, Jody Isaacson. She shows at Kucera, hence the connection. She was at Byrd&#39;s bedside hours before he finally, peacefully, died.&lt;/p&gt;
&lt;p&gt;By many measures, Byrd&#39;s late life was better than his early one. The only time I talked with him, by phone in April from the hospital where I would later learn he was being diagnosed with cancer, he was eager to talk despite the fact that he was having some trouble getting words out clearly. It was not one of his better days.&lt;/p&gt;
&lt;p&gt;He would say something and interrupt Jody as she tried to translate it, piling words on words, trying to be understood as if he was thrilled finally to have someone listen to him after decades of keeping all of these paintings under wraps.&lt;/p&gt;
&lt;p&gt;But when he started to talk about the paintings of the foster homes where he lived as a child, he hit a wall and all at once went silent. He then said something jumbled in a lowered voice, which Jody translated to, &quot;He wants to talk about those Brooklyn pieces, but he just can&#39;t.&quot; Those experiences were still painfully close. The paintings &lt;em&gt;Foster Family&lt;/em&gt; and &lt;em&gt;Hell of an Evening&lt;/em&gt; leave chills (&lt;a href=&quot;http://www.gregkucera.com/byrd_genre-paintings.htm&quot;&gt;here&lt;/a&gt;, scroll down).&lt;/p&gt;
&lt;p&gt;The Kucera Gallery exhibition was beautifully arranged. Accompanying it are &lt;a href=&quot;http://www.gregkucera.com/byrd.htm&lt;br /&gt;&quot;&gt;an extensive digital catalog of Byrd&#39;s works&lt;/a&gt; and a written &lt;a href=&quot;http://www.gregkucera.com/byrd_bio.htm&quot;&gt;timeline of his life&lt;/a&gt;. Last weekend, Kucera devoted all the space he had at a San Francisco art fair to Byrd, &lt;a href=&quot;http://www.gregkucera.com/byrd_solo-installation.htm&quot;&gt;documented here&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;Most importantly, Byrd did live to see his paintings loved.&lt;/p&gt;
&lt;p&gt;No obituary has yet been published for Byrd, and his hometown paper is so small that one may never appear. But Kucera wrote one, so here it is, followed by an email Jody Isaacson sent out the morning Byrd died, to the people who work at the gallery and had come to know Byrd so well.&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;&lt;strong&gt;David Leonard Byrd (1926 &amp;#8211; 2013)&lt;/strong&gt;&lt;br /&gt;The artist, David Byrd died May 30, 2013 of complications from lung cancer. His close friend and advocate, Jody Isaacson had visited him earlier that day and found him simply more and more still and at rest. His body will be cremated and his ashes dispersed over the next few years at places he loved in the larger New York area.&lt;/p&gt;
&lt;p&gt;Byrd was diagnosed with cancer only a few days before flying to his opening at Greg Kucera Gallery in Seattle. Upon returning home, Byrd had two weeks of radiation treatment at the Veterans Administration Hospital in Albany, NY. Since then he had been in hospice care at the New York State Veterans Home at Oxford, about 40 miles from his home in Sidney Center.&lt;/p&gt;
&lt;p&gt;We were pleased to introduce the work of David Byrd, in our April-May, 2013 show, in the only gallery exhibition he had during his life. I was made aware of his work through his neighbor and fellow artist Jody Isaacson in November of last year. In January I traveled to Sidney Center to meet him and see his work in his home and studio. Upon meeting him and comprehending the range of his moving body of work, I felt as if I had been handed a wonderful opportunity, and a substantial obligation, to make a spectacular first exhibition of this artist&amp;#8217;s work.&lt;/p&gt;
&lt;p&gt;Byrd was born in 1926 and raised in Springfield, Illinois. His life experiences included living in foster homes as a child, traveling the world as a Merchant Marine, a brief military service, and studying with the Ozenfant School of Art in New York City. From 1958-88, he worked as an orderly at the Veteran&amp;#8217;s Administration Medical Hospital, Montrose, NY, caring for psychiatric patients damaged by the world wars. This experience provided him with his defining body of paintings related to the patients&amp;#8217; individual behaviors, general routines, and distinct personalities.  &lt;/p&gt;
&lt;p&gt;In 1988, Byrd retired from the hospital, built his permanent home (mostly by himself), and devoted himself to painting from memory, the places, people and situations he had seen in his previous lives. Byrd has a subdued palette, a minimal paint surface, and compositions with a striking inter-relationship of space and shape. His sculptures are combinations of hand-carved wood or found materials.&lt;/p&gt;
&lt;p&gt;While not ignorant of recent art history, Byrd&amp;#8217;s work is anachronistic in that he has remained true to the period of his formation as an artist. Though he lived to be 87 years old, one senses throughout his career the concerns of the artists of the 1940s, of social realism, and of genre painting.  &lt;/p&gt;
&lt;p&gt;Here is that great anomaly in the art world: a fully formed artist, with a tremendous history of painting, untouched by the commercial world, but deserving of a place within the history of 20th century art.&lt;/p&gt;
&lt;p&gt;The entire process of creating this exhibition has provided one of the most moving experiences of my career. From the first glimpse of the work I sensed the emotional and provocative range of it. The single painting that made me decide to show the work was simply title &amp;#8220;Suicide,&amp;#8221; depicting a man flying headlong downward toward his doom, his hands and fingers outstretched, the features on his face mask-like with open mouth and hollowed eyes. Not only did that painting make me want to show the work but also to buy it. And I did.&lt;/p&gt;
&lt;p&gt;I suspect I will never again have an opportunity so filled with promise, so late in an artist&amp;#8217;s life, and then, when the artist dies so suddenly, to realize we provided the only gallery exhibition of his lifetime. I am so thankful that it turned out to be such an overwhelming experience for me and my staff and our collectors. I had promised Byrd that we would have some success with the work but I suspected we might sell twenty paintings or so. What makes it all the more startling to me is that, despite all my prior experience with unknown artists, we have sold more than seventy-five paintings from this show. Although his show at 105 works is by far the most we&amp;#8217;ve ever had in one exhibition, to sell &amp;#190; of them, is pretty astonishing.&lt;/p&gt;
&lt;p&gt;Jody and I are committee to finding a dealer for Byrd&amp;#8217;s estate in New York. We thank David Byrd for his trust in our efforts.&lt;/p&gt;
&lt;p&gt;Greg Kucera, May 31, 2013&lt;/p&gt;&lt;/blockquote&gt;
&lt;blockquote&gt;&lt;p&gt;From: Jody Isaacson&lt;br /&gt;Date: Thu, May 30, 2013 at 5:10 AM&lt;/p&gt;
&lt;p&gt;Finally slipped from this world this morning at 12:30 am. Jessica and I were with him yesterday and sang Happy Trails to him alongside the cowboy song CD he enjoyed. We left him earlier in the day but he had loving hands on him over the last 10 days with Steve, Tom, Colleen, Jessica and myself rotating in and out to be with him as he slowly BUT WITH SUCH A STRONG HEART slipped away. I feel at peace that he no longer is struggling. Today is sunny and humid and perfect for inviting this amazing experience to slowly sink in. Thank all of you for  your love and help and interest in David. It was so meaningful to share it with you all.&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/0bbc/1370037251-byrd_barn-by-road_web.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/0bbc/1370037251-byrd_barn-by-road_web.jpg&quot; alt=&quot;David Byrd, Barn by Road, 1979.&quot; title=&quot;David Byrd, Barn by Road, 1979.&quot; width=&quot;500&quot; height=&quot;402&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy Greg Kucera Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;David Byrd, &lt;em&gt;Barn by Road&lt;/em&gt;, 1979.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
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        <media:title type="html">So Long, David Byrd</media:title>
        <media:description>David Byrd, &lt;em&gt;Man Waving&lt;/em&gt;, 1997, 12 by 15 inches. Sold.</media:description>
        <media:credit>Courtesy Greg Kucera Gallery</media:credit>
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    <pubDate>Fri, 31 May 2013 14:58:26 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>The Jekyll and Hyde-iest Show in Town</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/31/the-jekyll-and-hyde-iest-show-in-town</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/the-odd-couple/Content?oid=16898183&quot;&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/d4ff/1370020463-gruf_28058z.jpg&quot; alt=&quot;gruf_28058z.jpg&quot; title=&quot;&quot; width=&quot;500&quot; height=&quot;337&quot; /&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist (Ginny Ruffner) and Traver Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&quot;Explosion in a curly factory&quot; is the first thing you see. The words are written curly-cursive with corkscrewing arms of octopuses and coiled snakes spiraling around them. Wheeee! The whole world is resonating in the same gleeful key. It&#39;s a painting by &lt;strong&gt;Ginny Ruffner, the most irrepressible spirit in Seattle art&lt;/strong&gt;, whose other new pieces include a shark bumping its nose on a multicolored water balloon, a leaf dreaming of pretty flowers, and a daisy with a different pattern on every petal in a swarm of &quot;yeses.&quot;&lt;/p&gt;
&lt;p&gt;Circle back past &quot;Explosion in a curly factory&quot;&amp;#8212;wheee!&amp;#8212;to another show in the back room where, front and center, there are the bloody stumps of a woman&#39;s freshly amputated legs. Her mouth is open in a scream, but it is not a woman&#39;s face, it is the face and head of a monkey-wolf whose flesh is being melted off. This is called &lt;em&gt;Puberty&lt;/em&gt;. It&#39;s by &lt;strong&gt;Doug Jeck&lt;/strong&gt;. Ruffner and Jeck are sharing the Jekyll and Hyde&amp;#8211;iest double bill in art history. Wheee!&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/the-odd-couple/Content?oid=16898183&quot;&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:385px;&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/images/blogimages/2013/05/31/1370020573-djec_28109z.jpg&quot; alt=&quot;Are you ready to get close to this? Doug Jecks sculpture is called Puberty (After Munch).&quot; title=&quot;Are you ready to get close to this? Doug Jecks sculpture is called Puberty (After Munch).&quot; width=&quot;373&quot; height=&quot;578&quot; /&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist and Traver Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Are you ready to get close to this? Doug Jeck&#39;s sculpture is called &lt;em&gt;Puberty (After Munch)&lt;/em&gt;.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;br /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/the-odd-couple/Content?oid=16898183&quot;&gt;Keep reading &gt;&gt;&lt;/a&gt;&lt;/p&gt;
        
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        <media:title type="html">The Jekyll and Hyde-iest Show in Town</media:title>
        <media:description>Are you ready to get close to this? Doug Jeck&#39;s sculpture is called &lt;em&gt;Puberty (After Munch)&lt;/em&gt;.</media:description>
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    <pubDate>Fri, 31 May 2013 10:17:31 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Chicago Sun-Times Lays Off Its Entire Photo Staff</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/30/chicago-sun-times-lays-off-its-entire-photo-staff</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;a href=&quot;http://mashable.com/2013/05/30/chicago-sun-times-photo-staff-layoffs/&quot;&gt;The report comes from Mashable&lt;/a&gt;, which says &lt;strong&gt;20 full-time staffers got their notices today&lt;/strong&gt;, and that the newspaper will instead use freelance photographers and reporters shooting with their cameras.&lt;/p&gt;
&lt;p&gt;I found out about this by following the Photo Center Northwest on Twitter (&lt;a href=&quot;https://twitter.com/PhotoNorthwest&quot;&gt;recommended&lt;/a&gt;), which I mention because it&#39;s not just a journalism story, but also an art story, in that it&#39;s about a way of looking at the world. I&#39;m not certain that photojournalists necessarily see the world in a way that&#39;s quantifiably, specifically different from the way that writing journalists do (see? It&#39;s part of the problem that there&#39;s not even an equivalent word for writers&amp;#8212;we&#39;re just called &quot;journalists&quot; while shooters are called &quot;photojournalists&quot;).&lt;/p&gt;
&lt;p&gt;But there are less quantifiable ways that imagemakers see stories differently from wordassemblers, and there is also the secret fact, now being exploited for its sheer moneysaving capacity, that keeping a staff of shooters and a staff of writers can sometimes mean having two people on a single story who have devoted their lives and the lives of their families to the project of reaching out into the world and shaping a corner of it into story form in the simple hope that other humans might learn a new true thing.&lt;/p&gt;
        &lt;p&gt;[ &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2013/05/30/chicago-sun-times-lays-off-its-entire-photo-staff#comments&quot;&gt;Comment on this story&lt;/a&gt; ]&lt;/p&gt;
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    <pubDate>Thu, 30 May 2013 11:09:07 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Gamer Versus Hippie</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/30/gamer-versus-hippie</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/8f43/1369930465-img_0716.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/8f43/1369930465-img_0716.jpg&quot; alt=&quot;Damien Gilleys nerd version of landscape, at Suyama Space.&quot; title=&quot;Damien Gilleys nerd version of landscape, at Suyama Space.&quot; width=&quot;500&quot; height=&quot;667&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy the artist and Suyama Space&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Damien Gilley&#39;s nerd version of landscape, at Suyama Space.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;Nerds, gamers, architects, and cartographers form one strand of the &lt;strong&gt;double helix of Northwestern landscape art&lt;/strong&gt;. The other strand is hippies, stoners, and romantics. The hippies are into mold, dripping, growing, engulfing, altered states, fever, and chills.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/21f9/1369930169-58ec1af6eb92c9992a21648e3c887fe9.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/21f9/1369930169-58ec1af6eb92c9992a21648e3c887fe9.jpg&quot; alt=&quot;Can you find the teeny pocket knife in this painting by Peter Scherrer?&quot; title=&quot;Can you find the teeny pocket knife in this painting by Peter Scherrer?&quot; width=&quot;500&quot; height=&quot;401&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;Courtesy of the artist and SEASON at Platform Gallery&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Can you find the teeny pocket knife in this painting by Peter Scherrer?&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;http://www.thestranger.com/seattle/gamer-versus-hippie/Content?oid=16898093&quot;&gt;Keep reading&lt;/a&gt;.&lt;/p&gt;
        
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    <pubDate>Thu, 30 May 2013 09:17:07 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>The Wealth of Detroit</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/29/the-wealth-of-detroit</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;On Sunday, the &lt;em&gt;Detroit Free Press&lt;/em&gt; reported that the City of Detroit is considering &lt;a href=&quot;http://www.freep.com/apps/pbcs.dll/article?AID=2013305260073&quot;&gt;selling the art from the vaults&lt;/a&gt; of the &lt;a href=&quot;http://www.dia.org/art/&quot;&gt;Detroit Institute of Arts&lt;/a&gt; to pay down billions in city debt. If this happened, it would be &lt;strong&gt;unprecedented in American history&lt;/strong&gt;. The &lt;em&gt;Free Press&lt;/em&gt; published a list of &lt;a href=&quot;http://www.freep.com/article/20130526/ENT05/305260067&quot;&gt;the ten works of art considered most valuable&lt;/a&gt; in the DIA collection&amp;#8212;by artists from van Eyck, Bruegel, Rembrandt, Tintoretto, Matisse, and van Gogh to Rothko&amp;#8212;and the art world is agog.&lt;/p&gt;
&lt;p&gt;It&#39;s not something that could necessarily happen just anywhere: Detroit has a highly unusual arrangement. The DIA is not an independent nonprofit, as are most art museums (the Smithsonian Institution&#39;s museums excepted), but rather a hybrid operated by a nonprofit but whose building and collections are owned outright by the city. The City of Detroit has about &lt;strong&gt;$10 billion in debt&lt;/strong&gt; that it has no idea how it&#39;s going to pay. It&#39;s looking for &lt;em&gt;anything&lt;/em&gt; liquidateable. No wonder it licks its lips at a Bruegel.&lt;/p&gt;
&lt;p&gt;But my god, how could a city just sell off what it could never buy back? That&#39;s one perspective: that the City of Detroit is horribly managed and systematically unsustainable, and that selling treasures for one-time profit would be tragically shortsighted, the kind of bailout that actually solves no problems whatsoever.&lt;/p&gt;
&lt;p&gt;On the other side of the argument, how can a handful of pictures luxuriate in climate control while a whole city goes up in flames around them? How can anybody care about pictures over people?&lt;/p&gt;
&lt;p&gt;Except there may be another question worth asking about Detroit: &lt;strong&gt;Where the rich people at?&lt;/strong&gt; This isn&#39;t the DIA&#39;s first catastrophe in recent years. It&#39;s been so desperate that it&#39;s talked of closing altogether. Surely there is no more vulnerable, less well-connected comparable museum anywhere else in this nation. If a city tried to raid its own art to pay its creditors, typically, the moneyed folks, who fund museums and donate artworks and care about things like tourism and the business climate and, well, maybe even plain old civic pride and responsibility, would be up in arms.&lt;/p&gt;
&lt;p&gt;But in Detroit, the rich people are in the suburbs, chilling in some of &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_highest-income_places_in_the_United_States&quot;&gt;the richest zip codes in the country&lt;/a&gt;, places like Bloomfield Hills. This is the aftermath of white flight and the criminally shortsighted automobile industry.&lt;/p&gt;
&lt;p&gt;&quot;For years, the car industry essentially took care of everything,&quot; says Luis Croquer, &lt;a href=&quot;http://slog.thestranger.com/slog/archives/2012/01/13/the-henrys-got-a-new-deputy-director-of-art-and-education/&quot;&gt;deputy director of art and education at the Henry Art Gallery at UW&lt;/a&gt; since last March. Before that, &lt;strong&gt;he was director of MOCA Detroit&lt;/strong&gt;.&lt;/p&gt;
&lt;p&gt;&quot;When the car industry disappeared, everybody was like, &#39;&lt;strong&gt;When is Daddy coming back?&lt;/strong&gt;&#39;&quot; says Croquer. &quot;He&#39;s never coming back.&quot;&lt;br /&gt; &lt;br /&gt;There was a time when the DIA could rely on the auto industry to pay most of its bills. But Henry Ford didn&#39;t build endowments or sustainable funds, instead making institutions reliant in perpetuity. &quot;He created this credit-card culture,&quot; Croquer says.&lt;/p&gt;
&lt;p&gt;&quot;In Seattle, where there&#39;s this history of bust and reinvention and bust and reinvention and bust and reinvention, there&#39;s the sense of being able to move forward,&quot; Croquer says he&#39;s observed. &quot;In Detroit, people would say to me, &#39;&lt;strong&gt;I don&#39;t think that this can get any worse&lt;/strong&gt;,&#39; and I would say, &#39;&lt;strong&gt;I think it can&lt;/strong&gt;.&#39; ... I think in other parts of the country, obviously the rich are not entirely thrilled with the idea that they have to pick up the bill. But they don&#39;t have any model that somebody was paying the bill before... Of course, the foundations in Detroit have been injecting a lot of money hoping that they can revitalize the city and hoping that that very wealthy base is going to be a matching partner, and that&#39;s of course not happening.&quot;&lt;/p&gt;
&lt;p&gt;The financial crisis is actually a civic crisis, Croquer says. It extends into all the city&#39;s major arts institutions, many of which carry debts that in other cities would be unthinkably large.&lt;/p&gt;
&lt;p&gt;&quot;I was very, very actively involved in this issue; I really got into the fiber of it,&quot; Croquer says. &quot;One of the things that I learned is that you can&#39;t actually have a renewal if you don&#39;t have all the actors sitting at the table. To be able to turn a city around, you need to have the politicians, you need to have the private sector, you need to have the artists&amp;#8212;everybody.&quot;&lt;/p&gt;
&lt;p&gt;The City of Detroit is supposed to be deciding the fate of the art in the next few weeks.&lt;/p&gt;
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    <pubDate>Wed, 29 May 2013 08:14:41 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Sunday&#39;s Front-Page Photograph of a Flattened Uniform</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/28/sundays-front-page-photograph-of-a-flattened-uniform</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/0922/1369759934-20130526-dover-slide-wxch-slide-1.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/0922/1369759934-20130526-dover-slide-wxch-slide-1.jpg&quot; alt=&quot;20130526-DOVER-slide-WXCH-slide-1.jpg&quot; title=&quot;&quot; width=&quot;500&quot; height=&quot;333&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;By Ashley Gilbertson&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;After a single look I could close my eyes and see this photograph again. It appeared on the front page of Sunday&#39;s &lt;em&gt;New York Times&lt;/em&gt; with a story called &quot;&lt;a href=&quot;http://www.nytimes.com/2013/05/26/us/intricate-rituals-for-fallen-americans-troops.html?pagewanted=all&quot;&gt;Last Inspection&lt;/a&gt;.&quot;&lt;/p&gt;
&lt;p&gt;This is the kind of image that needs no caption because &lt;strong&gt;it&#39;s all right there.&lt;/strong&gt; The present soldier and the absent one. The rhyming pairs of hands and gloves; how easy it is to imagine the positions exchanged. The uniform mocked by flatness and those sorry black socks. All the other men in the room, not in the room. Flashing red. Careful fingers. The raised perspective of the photographer, looking down, not claiming to be any part of this.&lt;/p&gt;
&lt;p&gt;The photographer is Ashley Gilbertson, originally from Australia, who covered Iraq for a long time. Out of that experience he made a photography book called &lt;a href=&quot;http://www.ashleygilbertson.com/book.html&quot;&gt;&lt;em&gt;Whiskey Tango Foxtrot&lt;/em&gt;&lt;/a&gt;, but by the time it was out, he already felt like &lt;strong&gt;he couldn&#39;t relate&lt;/strong&gt; to those straight-up war pictures. Rather than continue in that vein, on a suggestion from his wife, he began instead an intimate series called &lt;a href=&quot;http://www.bedroomsofthefallen.com/&quot;&gt;&lt;em&gt;Bedrooms of the Fallen&lt;/em&gt;&lt;/a&gt;. He &lt;a href=&quot;http://6thfloor.blogs.nytimes.com/2011/05/17/a-conversation-with-photographer-ashley-gilbertson/&quot;&gt;describes&lt;/a&gt; how it works:&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;You&amp;#8217;re talking on the telephone with a family in Indiana, then exchanging e-mails, then talking on the phone again and again. Then you visit them at home and have tea or lunch, and then you&amp;#8217;re invited into the bedroom. And all this time you&amp;#8217;ve been talking about their son, and what he did in Iraq or Afghanistan and what he did when he was young and how he used to cover himself in cicadas. Then you walk into his room and you can almost touch him.&lt;/p&gt;&lt;/blockquote&gt;
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    <pubDate>Tue, 28 May 2013 10:10:28 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Currently Hanging: The Burning of Vito Badalamente</title>
    <link>http://slog.thestranger.com/slog/archives/2013/05/27/currently-hanging-the-burning-of-vito-badalamente</link>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/6582/1369615301-img_0780.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/6582/1369615301-img_0780.jpg&quot; alt=&quot;Those are Curtis Steiners hands.&quot; title=&quot;Those are Curtis Steiners hands.&quot; width=&quot;500&quot; height=&quot;667&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Those are Curtis Steiner&#39;s hands.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;Eight years after Vito Badalamente&#39;s wife died, in February 2011, &lt;strong&gt;Vito stood in front of the Blessed Mother statue&lt;/strong&gt; in his local church on Long Island, just the way he always did when he came to light a votive candle to his wife&#39;s memory. But this time, somehow, his clothes caught on fire. A priest tried to intervene, but it would turn out to be too late. The 89-year-old devoted widower died of his burns.&lt;/p&gt;
&lt;p&gt;Seattle artist &lt;a href=&quot;http://www.pattishaw.com/home/index.html&quot;&gt;Patty Shaw&lt;/a&gt; read Vito&#39;s story &lt;a href=&quot;http://newyork.cbslocal.com/2011/02/24/elderly-man-catches-fire-at-long-island-church/&quot;&gt;in the news&lt;/a&gt;. She went to her local Catholic church, and asked whether they&#39;d be willing to give her the shimmery metal plates that are left over after people burn their votives. She gathered them for months, and tied them together with little pieces of string she let hang off the front of her tapestry. &lt;/p&gt;
&lt;p&gt;It now hangs &lt;a href=&quot;http://www.curtissteiner.com/&quot;&gt;at Curtis Steiner in Ballard&lt;/a&gt;, along with two other gleaming tapestries made of the same material. Shaw also has a handful of full-length portraits in the store&#39;s windows, drawn with only needle and thread, but the metal pieces are more captivating, both armor and silk.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/b916/1369617000-img_0777.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/b916/1369617000-img_0777.jpg&quot; alt=&quot;IMG_0777.jpg&quot; title=&quot;&quot; width=&quot;500&quot; height=&quot;667&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/p&gt;
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        <media:title type="html">&lt;b&gt;Currently Hanging&lt;/b&gt;: The Burning of Vito Badalamente</media:title>
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    <pubDate>Mon, 27 May 2013 10:30:01 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Animal Creativity</title>
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      <dc:creator>Jen Graves</dc:creator>
    

    
      <description>
        
        &lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:412px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/11e2/1369611572-feature-click1.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/11e2/1369611572-feature-click1.jpg&quot; alt=&quot;IT SMELLED Thats one part of Karla Blacks cosmetics-and-other-powders installation that you cant understand from this photograph, a partial view of a multi-roomed installation at the Venice Biennale in 2011.&quot; title=&quot;IT SMELLED Thats one part of Karla Blacks cosmetics-and-other-powders installation that you cant understand from this photograph, a partial view of a multi-roomed installation at the Venice Biennale in 2011.&quot; width=&quot;400&quot; height=&quot;535&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;IT SMELLED That&#39;s one part of Karla Black&#39;s cosmetics-and-other-powders installation that you can&#39;t understand from this photograph, a partial view of a multi-roomed installation at the Venice Biennale in 2011.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;Karla Black&#39;s heaps and piles of &lt;strong&gt;cosmetics and other dusts and dirts&lt;/strong&gt; drew me in &lt;a href=&quot;http://www.thestranger.com/seattle/seeing-double/Content?oid=10568345&quot;&gt;at the last Venice Biennale&lt;/a&gt; (can you believe it&#39;s come around &lt;a href=&quot;http://www.labiennale.org/en/Home.html?back=true&quot;&gt;again&lt;/a&gt;?), but the Scottish artist rarely shows stateside. She now has work in a student-curated exhibition I&#39;d love to see in Philly (&lt;a href=&quot;http://www.philly.com/philly/entertainment/20130526_Art__Repetition_as_a_means_of_understanding.html&quot;&gt;nice review by Edward Sozanski&lt;/a&gt;).&lt;/p&gt;
&lt;p&gt;In an interview from last year, when she showed in Dallas, she put creativity on the animal side of being human.&lt;/p&gt;
&lt;blockquote&gt;&lt;p&gt;&lt;strong&gt;FR: What do you mean when you say your work has &amp;#8220;consequence,&amp;#8221; more than &amp;#8220;meaning?&amp;#8221;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;When I say my work doesn&amp;#8217;t have meaning it has consequence, I mean I am putting out this difficult, chaotic, messy, problematic moment that art is &amp;#8211; that creativity really is. It is not some nice sealed off hermetic transferable thing. There is lots of difficulty and chaos in it. They are things that people don&amp;#8217;t really want; it is sort of messy. These sculptures manage to kind of push that into the institutional framework of the museum &amp;#8212; and of the market. Because the market is really important to me too &amp;#8211; to get that rawness, to get the raw creativity into it. But in order to do that, it has to have this civilized surface. That is the difference between self-indulgence &amp;#8212; what is going to make you happy &amp;#8212; and the fact that there are other people in the world. But just that sort of &lt;strong&gt;animal behavior of just mucking about with stuff&lt;/strong&gt; is really the thing. I wouldn&amp;#8217;t just do something that is just a gesture because that&amp;#8217;s really self-indulgent and it doesn&amp;#8217;t have any real consequence. So it is trying to work up its civilized surface in order to feel acceptable. But not really through meaning. They are what they are. Hopefully you can still see the fact that somebody struggled with them, that you can still see &lt;strong&gt;the sort of human, the animal creativity in the thing&lt;/strong&gt;, because there are the marks. But I think lots of it is very, very pretty, but it is doing that on purpose, in order for its rawness to be acceptable.&lt;/p&gt;&lt;/blockquote&gt;
&lt;p&gt;Obviously, any distinction between humans and animals is labored, since, yes, humans are animals. Black&#39;s language&amp;#8212;&quot;the sort of human, the animal creativity&quot;&amp;#8212;reflects the lack of any clear divide. But I&#39;m intrigued by how far she puts creativity on the side of the physical, of &quot;mucking about with stuff.&quot; Her creations do seem like the leavings of busy creatures.&lt;/p&gt;
&lt;p&gt;Yet other accounts describe her as a perfectionist, and say she gives specific instructions for installation when she isn&#39;t there to do it herself. She&#39;s balancing muck and ideals, maybe. I&#39;m reminded of a display I saw Friday at the new exhibition featuring this spring&#39;s UW MFA grads (&lt;a href=&quot;http://henryart.org/exhibitions/show/1185&quot;&gt;through June 23&lt;/a&gt;), with &lt;strong&gt;Stephanie Klausing&#39;s ceramic agglomerations&lt;/strong&gt; set in rows of escalating material dilapidation, even ugliness (some pots, finger-pressed and still bearing the prints, shaped like feces-full intestines), and &lt;strong&gt;Ryan Weatherly&#39;s painted concoctions&lt;/strong&gt;, depicting melting, candy-colored women&#39;s faces.&lt;/p&gt;
&lt;p&gt;&lt;div class=&quot;blogImageCenter&quot; style=&quot;width:512px;&quot;&gt;&lt;a href=&quot;http://www.thestranger.com/binary/4a49/1369613015-img_0744.jpg&quot; class=&quot;zoomable&quot;&gt;&lt;img src=&quot;http://www.thestranger.com/binary/4a49/1369613015-img_0744.jpg&quot; alt=&quot;Stephanie Klausing (foreground) and Ryan Weatherly at the Henry.&quot; title=&quot;Stephanie Klausing (foreground) and Ryan Weatherly at the Henry.&quot; width=&quot;500&quot; height=&quot;375&quot; /&gt;&lt;/a&gt;&lt;ul&gt;&lt;li class=&quot;imageCredit&quot;&gt;&lt;/li&gt;&lt;li class=&quot;imageCaption&quot;&gt;Stephanie Klausing (foreground) and Ryan Weatherly at the Henry.&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/p&gt;
&lt;p&gt;The Henry is closed Mondays and Tuesdays but open again Wednesday.&lt;/p&gt;
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    <pubDate>Mon, 27 May 2013 09:21:14 -0700</pubDate>
    <source url="http://www.thestranger.com">The Stranger</source>
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    <title>Taking Pictures of the Neighbors Through Their Windows</title>
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      <dc:creator>Jen Graves</dc:creator>
    

    
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        &lt;p&gt;If you have your picture taken in public space, legal precedent gives you no leverage to sue when your picture appears in art or journalism. But what about when an artist takes a picture of you&amp;#8212;leaving you unidentifiable except maybe to yourself and people who know you&amp;#8212;through the picture windows of your house? &lt;a href=&quot;http://6thfloor.blogs.nytimes.com/2013/05/23/when-photography-imitates-voyeurism/?emc=tnt&amp;tntemail0=y&quot;&gt;A new New York gallery show raises the questions.&lt;/a&gt;&lt;/p&gt;
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    <pubDate>Fri, 24 May 2013 14:15:03 -0700</pubDate>
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