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The Official Website of the City of Kent

Centennial Center Gallery

Blue_Earth_installation 

Centennial Center Gallery during the Blue Earth exhibit, © Benjamin Drummond. 

     

Gallery Hours: 
Monday - Friday, 8:00 a.m. - 5:00 p.m.
closed weekends and holidays

Location:
 
400 West Gowe Street, Kent, WA 98032

Contact
:
(253) 856-5050, artscommission@kentwa.gov 


Exhibition Opportunities:
 

Artists are selected by a panel during the annual Kent Summer Art Exhibit. Applications are due in March each year.

 

 

 

Current Exhibition

 

 

 

 Steininger  Joseph Steininger, "Duomo" 

 

Spring Art Exhibit

Artist: Joseph Steininger


Medium: Spray Paint 

Exhibit Dates: Tuesday, April 1 - Thursday, May 22, 2014 

Statement 

 

"Based out of Seattle, Joseph has been working on his skills as an artist since 2009. At the moment he has been focusing mostly on hand cut, multiple layered spray paint stencils and different forms of printmaking.

Joseph sees both printmaking and hand cutting stencils as a very process oriented art and is always trying to find new ways to change his process up as well as expanding his art into something more self representative. By doing this he hopes to broaden the preconceived notions of what art can be made using spray paint."

 

  

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Gallery Archive

 

Blanca Santander

Connections
Artist’s Statement The Pacific Northwest and my Peruvian heritage are my worldly bonds. Mother Nature is the theme and inspiration for what drives my art. Mother Earth is a female figure who is so powerful and kind. I feel like I have roots and branches sustaining me physically and artistically.

The troposphere of Earth, the layer of atmosphere containing life, is full of the sounds, light, and movement as we interpret them existing only in this realm known as our layer of life. My daily observations, meditations, and thoughts about this collective conscience of our surroundings inspire my work.

Connections include all that we experience collectively. The balance of nature ensures we are provided with what is needed to sustain life on Earth.
With my work I want to go back to the simplest but most important connection: the connection to our roots and to our mother earth. In our busy lives we create a multitude of connections and usually we forget the most important one that is always there before us

John Armstrong and Lisa Ahlberg

September/October 2012

 

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Image credit: © John Armstrong, Post-It Car

 

 

Finding the Unexpected: photography by John Armstrong 

Artist's Interview 

   

Artist’s Statement
I am the type of photographer who is happiest wandering around or traveling with a camera in hand. I like to photograph provocative, ironic or humorous subjects and situations. In addition, I often photograph images with text or words in them. Anything that grabs my attention is fair game.

The photographs in this exhibit represent moments and objects from our lives that have been stopped and preserved - scenes we walk by every day and may not have really noticed. As with all photographs, what has been excluded from each image is just as important as what has been included. Taking ordinary objects and isolating them from their surroundings often gives them a greater significance and makes them more interesting

The photos shown here were taken with several kinds of cameras: film and digital, traditional and plastic "toy" camera. Some of the prints were made in the photographic darkroom with various techniques and some were printed digitally.

To see more of my photos, please check out my three books online by going to Blurb.com and searching for "John Armstrong, photography books".  

 

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Image credit: © Lisa Ahlberg, Francisco 

 

 

On/Off Delridge: photography by Lisa Ahlberg 

Artist's Interview 

 

Artist's Statement 

On/Off Delridge is the result of over 10 years of portrait photography in Seattle's White Center neighborhood. It's a vibrant community that like the rest of the U.S. and world is changing as enormous waves of immigration transform cities, states and countries and as the deepening economic and social crisis falls hardest on the working class.

White Center remains a working class neighborhood - one of shipyard workers and longshoreman, laborers , landscapers, housekeepers, factory workers and small business owners - including many immigrants.

Many of the portraits are taken at my street studio on Delridge. I have chosen fabrics for backdrops to help create a stage for people who stop to collaborate in making a portrait. Others are taken at carnivals, parades, festivals and street corners.

I have little interest in celebrity culture. I am an industrial worker myself and it is working people I turn to with my camera. I am influenced by outstanding photographers such as Mike Disfarmer, Milton Rogovin and Seydou Keita, artists who have all produced revealing portraits that capture a certain place and time as well as the dignity of their subjects.

The final three portraits are from a new as yet untitled series of workers.

****
Lisa Ahlberg is a graduate of the Photographic Center Northwest, a center for the photographic arts in the Pacific Northwest.

Since 2009, she has served as a member of it's Board of Directors and is an active member of the community it serves.

 

Kent Summer Art Exhibit

June/August 2012

 

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Tendedera # 1, acrylic ink on clayboard, 12 x 12 x 2 inches, © Juan Alonso-Rodriguez, 2012. 

          

Every year during the annual Kent Summer Art Exhibit, paintings, photographs, works on paper, mixed-media and wall-mounted sculpture are displayed salon style in the Centennial Center Gallery and adjacent conference rooms.

 

Please watch our video documenting the 2012 exhibition.

 

2012 Exhibiting artists: Laura Ackerman ▪ Brandon Aleson ▪ Juan Alonso-Rodriguez ▪ John Armstrong ▪ Joe Becker ▪ Shelly F. Cohen ▪ Carina A. del Rosario ▪ Adele B. Eustis ▪ Patty Haller ▪  Fran Holt ▪ Catherine Kail-Tucker ▪ Robert Xavier Lober ▪ Nancy McLaughlin ▪ Susan Melrath ▪ Janet C. Mitchell ▪ Stephanie Nicoll Reilly ▪ Mauricio Robalino ▪ David Scherrer ▪ Nick Shiflet ▪ Jason Starkie ▪ Gretchen Van Dyke ▪ Suze Woolf

Jurors: Minh Carrico and Molly Magai

Sponsor: Osborn Machler 

 

Catered by:Airways  

 

Jean Bradbury

April/May 2012

  

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Interview with the Artist

Artist's Statement  

 

“I paint gardens inhabited by whimsical and often vulnerable creatures. Both joyful and sinister, these places celebrate our own gentle natures in a world where anxiety and heartache lurk. My paintings remind me to observe nature and to take care with our world and our hearts. There is beauty in the small and strength in intimacy.”

 

Jean Bradbury was born in the Shetland Islands, U.K. in 1963. She grew up in New Brunswick, Canada on her parent’s organic farm where she learned to see plants and animals as a natural part of her emotional life.

 

After completing her BFA in painting at Queen’s University she spent time traveling through Europe and the Near East developing an interest in art history, natural dyes and archeology.

 

Jean lives in Seattle with her two children and two cats. She spends a lot of time watching the sun set over the Olympic Mountains while her children wonder when dinner will be ready.

 
 

Robert Xavier Lober

January/February 2012

The Kent Arts Commission is pleased to paintings by Kent artist Robert Xavier Lober. He talks about his work in this video.

 

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Image credit: © Robert Lober, Summer Sunlight, 48 x 48 inches, oil on canvas, 2011  

 

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Image credit: © Robert Lober, Nocturne, 48 x 48 inches, oil on canvas, 2011 

  Artist's Statement 

    

Ariadne’s Thread is a record of a process that started with a visit to a hayfield near Winthrop, Washington several years ago. What started as a celebration of sunlight gracing a newly baled hayfield became an exploration of color, shape and mood that has occupied me for several years now (and may continue for more to come).

Ariadne’s Thread has several meanings for me. One meaning refers to the legend wherein Ariadne gave Theseus a ball of twine to enable him to find his way out of the labyrinth after killing the Minotaur. The other is a mathematical term used to describe the process of solving of a problem with multiple apparent means of proceeding - such as a physical maze, a logic puzzle, or an ethical dilemma - through an exhaustive application of logic to all available routes. The process can take the form of a mental record, a physical marking, or (as in my case) a series of artworks; it is the process itself that assumes the name.

 

Jennifer J Hermanson and Maria Olga Meneses

November/December 2011

The Kent Arts Commission is pleased to present two local photographers. Kent artist Jennifer J Hermanson explores the natural world through photography. Her photographic studies of landscapes and animals allow her to connect more deeply to the world around her. Maria Olga Meneses uses her photographic practices to explore memory and age. She captures disconnected fragments to express the process of forgetting.

 

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Image credit: Hot Day, photograph, 18 x 24 inches, © Jennifer J Hermanson, 2010 

 

 

 

Jennifer J Hermanson 

 

Video and Artist Statement:

  

I love photographing nature. I like being outdoors and losing myself in the beauty of the outdoors. Three hours feels like 15 minutes to me as I follow a stream into the woods or get lost on some obscure path that will surely hold a photographic treasure. I also love capturing animal portraits. The eyes are the windows to the soul and these creatures have many stories to be told.


I aspire to take photo’s that capture the personality of the item I am photographing. Whether it is a flower that has a story to tell or a bird that is following me around curious about what I am doing, I try and photograph it as I think it would want its portrait.


The materials I use are as important as the photo itself. I use a metallic paper to give it a more 3-dimension look. Along with the traditional digital camera I also use an infrared camera. This allows me to take photos that have a different look and feel to the traditional nature backgrounds. My technique is also to selectively focus on my subject while blurring the background so the viewer can focus all their attention on the main attraction.


My current body of work that is on display represents the last 6 years of my adventure into photography. I bought my first digital SLR camera 6 years ago when my girls were babies. My old point and shoot was too slow to capture all the moments so I upgraded took some classes and haven’t looked back. I also love wedding photography. Being selected to capture the images that a couple will cherish is an honor. My life goal is to photograph my home state of Nevada. Most people only think of it for the gambling and prostitution but there are many beautiful places that I would like to share with people.

My message to viewers is to stop and look at the little things in life because someday they will be gone. Get outdoors and enjoy nature and don’t just explore it through others eyes. I hope my work sparks a curiosity in my viewers that gets them away from Wikipedia and out looking for answers on their own.  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Image credit: Scattered, photograph, 16 x 20 inches, © Maria Olga Meneses, 2011 

 

 

Artist’s Statement: Maria Olga Meneses 

 

Through my photography, I present “Disconnected Fragments” which depicts my view of the brain experiencing the weakening of memory with age and the breakdown of the assembly process of memory that many of us begin to experience. This is a series of meaningless thoughts, lesions, and faded connections and a phenomenon you might call “forgetting."

 

Jeremy Mangan and Rickie Wolfe

September/October 2011

 

video:Interviews with Jeremy Mangan and Rickie Wolfe at the Centennial Center Gallery 

 

The Kent Arts Commission’s 2011 fall exhibition featured two accomplished Northwest artists.  

 

Jeremy Mangan paints groups of buildings that appear to float above our local landscape. Supported by intricate scaffolding, these painterly constructions provide adequate space for the inhabitance of our own metaphors and memories. 

 

Rickie Wolfe explores the relationship between drawing and sculpture through assemblage. Her delicate constructions are composed of interconnected metal rings, intermittently covered in paper. The materials she uses are all hand-crafted.

 

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Image credit: Pier 29, acrylic on panel, 24 x 36 inches, © Jeremy Mangan, 2010 

 

 

 

Artist Statement: Jeremy Mangan  

  

My paintings begin somewhere- nowhere- in the American West. They are set in real places that don't exist. They operate in a landscape where myth must contain fact, where promise and beauty continually grapple with melancholy and isolation. And in this landscape people have found reason to be busy, the results of which are staged for our consideration. In this work I aim to access a range of regional categories and cliches including vernacular architecture, Manifest Destiny, the outdoor lifestyle, legends of the Wild West, even ecological concerns- but always from the flank, and without verdict.

 

I'm not interested in editorial. I'm interested in anachronism, in the wonder and inescapable strangeness of our interaction with this world, in the celebration and mourning of our ambition. Because it's both, it's always both. I'm interested in this place I'm from and for which I have a deep fondness, in crawling inside the vast and loaded notion of 'The West," armed with all my experience, knowledge, reverence, fascination, preconceptions, misconceptions, outright ignorance, and running around like a grown-up kid hunting for things worth seeing- and then painting them.  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Image credit: Imago, metal, fibers, paper, wax, shellac, 19 x 12 x 6 inches, © Rickie Wolfe, 2010 (photo: Richard Nicol) 

 

 

Artist’s Statement: Rickie Wolfe 

 

My work is rooted in an interest in process and the investigation of structure. The desire to expand outward from the two-dimensional surface has led me to explore drawing with metal and other materials.

 

The wall mounted sculptures reference calligraphy, hives, and unearthed treasures. Using circles and curvilinear forged pieces of metal, I begin to draw. First, I weld together from my palette of forms; I look for compositional interest, line width, and a certain emotional response from the raw metal. I know the metal exoskeleton is fully realized when I can recognize a balance between buoyancy and weight. Only then am I ready to incorporate fragile papers, fibers, felt, and stitching.

 

I am drawn to the tension between the raw metal and the delicate elements; fragile yet strong. Using fibers and paper is significant to my work as it call upon my roots as a printmaker. As a grouping, this work becomes a larger story of my process as an artist throughout this

 

 

2011 Kent Summer Art Exhibit

Annual Exhibit: June/July/August

Paintings, photographs, works on paper, mixed-media and wall-mounted sculpture are displayed salon style in the Centennial Center Gallery and adjacent conference rooms during the annual Kent Summer Art Exhibit. Please watch our video documenting the 2011 exhibition. 

 

Martensen_450 

How I Remember the Ozarks, Collagraph, Xerox transfer, monotype, sumi ink, collage, relief print
40 x 52 inches, © Kelda Martensen, 2010 
 

2011 Artists   John Armstrong, Joe Becker, Barbara Benedetti Newton, Ilona Berzups, Jean Bradbury, Margaret Brown, Elizabeth Bruno, Minh Carrico, Shelly F. Cohen, Inmaculada Cruz, Michelle de la Vega, Lori Duckstein, Cathy Fields, Victor Fuentes, Jennifer J Hermanson, Fran Holt, Ryan Horvath, Kirsten Marie Lawson, James M. Lilly, Robert Xavier Lober, Lois Lord, Molly Magai, Colleen Maloney, Kelda Martensen, Crista Matteson, Mary J McInnis, Maria Olga Meneses, Ushani Nanayakkara, Stacey Neumiller, Thu Nguyen, Rosie Peterson, Susanne Ranseen, Brett Rude, Blanca Santander, Sharon Styer, Ken Turner, Tannea Zollinger

Jurors   David Scherrer and Suze Woolf

 

Paintings by Lillyan S. George

April/May 2011

video   Artist Lillyan S. George @ Centennial Center Gallery 


artist's statement and biography 
I grew up at the dead end of Pharr Road, two miles outside of the old ghost town of Riverside, Washington. My mother was a folk landscape artist and began taking me to pastel and oil painting classes when I was in the first grade. I fell in love with art during those early stages of life. I earned a Bachelor Degree in Fine Arts with a Studio Art concentration in Oil Painting.
 

 

In the process of art making I do not plan, but instead leave things to chance. I have adopted a technique of painting a background and then layering cut-out drawings and patterned papers over the surface. My landscapes are riddled wiht creatures; some innocent, some corrupt. Their intentions are transparent, and many seem to be aware that the viewer is watching them. I weave these strange characters into an environment that has been described by others as tranquil and beautiful yet disturbing and dark. 

 

 George_2x450 1, 2 

 

images 

1. Catch me and I'm Yours, mixed media and oil, 36 x 4 inches, © Lillyan George, 2010

2. The Muk Muk are Watching, mixed media and oil, 36 x 4 inches, © Lillyan George, 2010

 

learn more 

www.lillyangeorge.com 

Kent Student Art Walk

Annual Exhibit: March

 

video  Kent Today: Student Art Month 

 

In celebration of National Youth Arts Month, the annual Kent Student Art Walk highlights the creativity of over 450 students from the Kent School District during March. Artwork is displayed in 25 downtown Kent businesses and the Centennial Center Gallery. 

 

450_Student Art 

 

Self Portrait by Kayla Daly, 2006   

   

SpringIntoArt_flower            

Art Walk Map

Free and open to the public, the art walk took place March 7 – 18, 2011.

Click to view and print a map. 

 
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Opening Reception & Passport Project

The opening reception was held on Friday, March 11, from 5:00 to 7:00 p.m. at the Centennial Center Gallery located at 400 West Gowe. Sponsored by Kiwanis Club of Kent A.M.

 

Children’s Bookshop is sponsored the Passport Project! A “Spring Into Art Panda” was attached to one artwork at each location. Youth recorded information about the artwork on their Passport. When they had collected information from 6 locations, they visited the Information Booth at the Centennial Center Gallery to receive a prize.

SpringIntoArt_flower   

Get Involved 

The Kent Arts Commission is proud to present the annual Student Art Walk in cooperation with the Kent School District's teachers, students and parents, the Kent Downtown Partnership and Kent Station.  

 

Would you like your school to be involved with this event in 2012? Please contact us at (253) 856-5050 or artscommission@kentwa.gov to learn more about the Kent Student Art Walk.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Prints by Mirka Hokkanen

January/February 2011

 

video   Artist Mirka Hokkanen @ Centennial Center Gallery  

 

artist's biography  Printmaker Mirka Hokkanen was born in 1979 in Helsinki, Finland. Growing up she was always close to the nature, playing in the woods and swimming in the lakes. Her life took a new direction when she moved to the U.S. in 1998 to attend Rockford College in Illinois.    

 

Mirka finished her BFA in 2002, and received both MA (2004) and MFA (2006) degrees in printmaking from University of Dallas, TX. Since then she has taught art in the Savannah, GA, area at Columbia College and Armstrong Atlantic State University, before moving to Dupont, WA, where she currently lives. Mirka now works as a fulltime artist, illustrator, instructor and crafts person. Her works have been exhibited both nationally and internationally. 

 

Though Hokkanen has lived in America for a long time, her work still reflects her heritage and upbringing. A respect for and closeness to nature draws Mirka to issues concerning the environment and animals and mans’ relationship with them. 

 

 

 HokkanenAnimalPyramidDeer 

 

artist's statement   The subject of my art has always been animals and nature. After moving to the US, in 1998, I was struck by how disconnected people seemed to be from nature and how western cultures seem to be increasingly moving towards commodity/commercial cultures. For the past 7 years I have been making art about our relationship with the food chain and how contemporary farming practices are neither sustainable nor healthy. These pieces, mainly etchings, screenprints and encaustic, are more serious in mood and based on facts.    
 

series about harmful farming practices  For the past 8 years I have been making art about our relationship with the food chain and how contemporary farming practices are neither sustainable nor healthy. The Front/Flipside series shows how the agriculture corporations want us to think our food is produced. The flipside shows what really happens behind the facades.   

 

The endangered animal pieces touch on the fact how heritage breeds of farm animals are lost due to factory farms preferring only a handful of breeds in production of our food. Those breeds are often manipulated for maximum food production and don’t have natural immunity to diseases and some of them are not even able to breed or walk naturally if they reach maturity. Every one recognizes the pandas and polar bears as being endangered but we have a possible food crisis on hand if a disease wipes out the couple of breeds used by agriculture industry.   

 

new work  Recently I have started a new series which is more imaginative and whimsical. The theme is our relationship with animals which are being pushed out of their habitats by sprawling cities. Part of the inspiration for this series comes from old folktales, George Orwell's book Animal Farm and the contemporary stories like Spiderwick. In these pieces the animals are secretly spying on us and plotting to take their homeland back.   

I use a variety of printmaking and drawing techniques, depending on what materials are available to me at a given time and what best suits the message I am trying to communicate.  
 
 


image  Animal Pyramid - Deer, reduction linocut on fawn colored Stonehenge paper, 7 1/2"x 12", copyright Mirka Hokkanen, 2010 

 

learn more  http://www.mirkah.com/      

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photo compositions by Ken Turner

November/December 2010

Reflections on Time and Motion

This exhibit featuring the artist's photo compositions was sponsored by the Kent Arts Commission and 4Culture. 

 

 

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  learn more  http://kenturner.mysite.com 

Danny Pierce

September/October 2009

Retrospective Exhibition and 90th Birthday Celebration 

opening reception and artist's 90th birthday celebration  September 10, 2010
 

Danny Pierce is a beloved Kent artist with a long and prestigious career. His work is included in such notable collections as the Museum of Modern art, the Smithsonian Institute, and the Seattle Art Museum. Artwork in this exhibition included oil paintings, caseins, watercolors, gouache, metal engravings, etchings and colored woodcuts.     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

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Exhibit catalogs are available for a suggested $5.00 donation. An online archive of the artist's work is coming soon.

 

2010 Kent Summer Art Exhibit

Annual Exhibit: June/July/August

Paintings, photographs, works on paper, mixed-media and wall-mounted sculpture are displayed salon style in the Centennial Center Gallery and adjacent conference rooms during the annual Kent Summer Art Exhibit. 

 

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2010 artists  Nicole Appell, Joseph E Becker, Louise Britton, Eduardo Calderón, Maria Coryell-Martin, Inmaculada Cruz,
Gordana Curgus, Michelle de la Vega, Penelope Evans, Victor Fuentes, Jay Galvin, Lillyan S. George, Judy Gilbert, Ford Gilbreath,
Betty Hageman, James Harnois, William J. Harris, Dennis Harrison, Jennifer J Hermanson, Mirka Hokkanen, Hye Young Kim,
Tanya K. Langford, Janci Mannington, Maria Olga Meneses, Ushani Nanayakkara, Cameron E Quinn, David K. Scherrer,
Dan Streiffert, Kathy Thurston, Ken Turner, Gretchen Van Dyke and Susan E. Walker
 

jurors  Jeremy Mangan and Rickie Wolfe 
 

sponsored by  Kent Arts Commission, Sherri Ourada and Mama Stortini's Ristorante & Catering

 

image  Missing Winter, 5 ¾ x 81/2 inches,  polymerplate intaglio, © Mirka Hokkanen, 2008 

Suze Woolf & Molly Magai

April/May 2010

Unintended Monuments 

Suze Woolf and Molly Magai paint our civilization’s inadvertent landmarks – the huge edifices of concrete and steel that we see daily without really noticing them. Woolf uses watercolor in unexpected intensity to render industrial landscapes. Magai uses oil on linen to evoke the dark mass of freeways and their attendant structures, reminding us of the speed, distance and escape they offer. Beautiful geometries, highlights and cast shadows, tactile textures, and surprising colors can be found in these taken-for-granted infrastructures. In this remarkable collaboration of artistic styles and intent, the artists exhibit their work side-by-side in the Centennial Center Gallery.  

  

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images 

1. Two Ramps, oil on linen, © Molly Magai, 2010 

2.Castle, watercolor on paper, © Suze Woolf, 2010  

 

John Osgood

January/February 2010

You are Here

John Osgood is a self-taught, full time artist originally from Edmonds, Washington. A graduate of the Artist Trust Edge program, John’s work has been selected by the Arts Council of Snohomish County for their annual art festival poster and by the Bremerton Arts Commission for their public art banner project. John currently has a studio and gallery in Seattle in the Greenwood neighborhood where he curates shows monthly for other up and coming Pacific Northwest contemporary artists. 

 

 

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You Are Here focuses on several series of works that John has recently produced. It features his unique style of infusing vibrant, often contrasting, color palettes into humorous and emotional portraiture. He works primarily with acrylics and aerosol in a style influenced by graffiti art and cubism. 

 

Just prior to installing this exhibit, John’s neighborhood was the target of arson. John worked double-time to complete this show as he led a mural project to help beautify the Greenwood neighborhood. You can read about the Greenwood mural in the Seattle Times and watch a video of John working.

 

image  Red Beard, 4' x 2.5', Acrylic & Aerosol on Wood, copyright John Osgood 2009

 

learn more  www.bherdstudios.com     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Marvels of Modernism

November/December 2009

Landslide

Marvels of Modernism documents cultural landscapes throughout the United States. The goal of The Cultural Landscape Foundation’s Landslide program is to draw immediate attention to nationally significant cultural landscapes. The program serves as a catalyst for an informed discourse, responsible community involvement and wise stewardship decisions.    

 

The Herbert Bayer Earthwork was one of 12 designees chosen from hundreds of nominations from around the nation:

Boston City Hall Plaza, Boston, MA
Estates Drive Reservoir, Oakland, CA
Heritage Plaza, Heritage Park, Fort Worth, TX
Kaiser Roof Garden, Kaiser Center, Oakland, CA
Lake Elizabeth, Allegheny Commons, Pittsburgh, PA
Manhattan Square Park, Rochester, NY
Mill Creek Canyon Earthwork, Kent, WA
Miller Garden, Columbus, IN
El Monte, Hato Rey, Puerto Rico
Pacific Science Center Courtyard, Seattle, WA
Parkmerced, San Francisco, CA
Peavey Plaza, Nicollet Mall, Minneapolis, MN
 

 

The Cultural Landscape Foundation, Garden Design magazine, and George Eastman House International Museum of Photography and Film produced this exhibit, with support from the Washington Chapter of the American Society of Landscape Architects. 


image: Mill Creek Canyon Earthworks by Herbert Bayer. Copyright Christopher Rauschenberg, 2008. 
 

learn more: 

www.tclf.org 

www.christopherrauschenberg.com
New York Times    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Louise Britton

September/October 2009

exhibit dates: September 10, 2009 - October 29, 2009
 
Louise Britton’s paintings focus on a variety of genres including landscape, still life, and figures. The common thread is nature. The artist collects natural objects, sketches and photographs of things and scenes that she finds compelling. She then combines elements into compositions using intuition rather than logic, and through the processes of scrutiny and painting, transforms them into something new. Her influences are historical and contemporary painters who combine realism with a sense of psychology and ambiguity.
 

 

 

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artist's statement The natural environment is under siege, and that may be why those of us who are drawn to the practice of landscape painting work in that traditional genre; we wish to experience it while we can and preserve the essence of it. I enjoy studying all kinds of landscape paintings, from the immediacy of small plein air sketches to the Tonalists to contemporary artists such as April Gornik. My own images are inspired by various sources, including my onsite sketches and photographs, but they are not meant to be depictions of a particular location. The movement of air and water and the nature of earth and trees are often my subjects. I don’t always exclude evidence of human intervention. I am exploring the formal, abstract qualities of color and composition in oil painting, with a goal of making a picture of a space that the viewer will feel he or she almost recognizes, but with a certain quality of mystery or transformation. 


image Stacked Waves, Oil on Canvas,  40" x 30,” © Louise Britton, 2008.


learn more
www.LouiseBritton.com    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2009 Kent Summer Art Exhibit

Annual Exhibit: June/July/August

Paintings, photographs, works on paper, mixed-media and wall-mounted sculpture are displayed salon style in the Centennial Center Gallery and adjacent conference rooms during the annual Kent Summer Art Exhibit, 

  

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2009 exhibiting artists: Joseph E. Becker    Deb Casso ∙ MalPina Chan ∙ Frank Duckstein ∙ Lori Duckstein ∙ Sharon Ely ∙ Penelope Evans ∙ Robert  Fairfax ∙ Jay Galvin ∙ Julia Haack ∙ Betty Hageman ∙ Dionne Haroutunian ∙ Jennifer J. Hermanson ∙  Mark Hoppmann ∙ Jo Anne Iwasaki Steve Jensen ∙ Susanne Kelly ∙ Dayton K. Knipher ∙ Sunyoung Kwon ∙ Spike Mafford ∙ Molly Magai ∙  Jeremy Mangan ∙ Crista Matteson ∙ Anna McKee ∙  Amy Oates ∙ John Osgood ∙ Regina "Gigil" Paranada ∙ Danny Pierce ∙ June Sekiguchi ∙ Cynthia J. Smidt ∙  Maitri Sojourner ∙ Joan Stuart Ross ∙ Sharon Swanson ∙  Ken Turner ∙  Rickie Wolfe ∙ Suze Woolf 

 

jurors: Ushani Nanayakkara and Ford Gilbreath 

 

sponsors: Kent Arts Commission, Bella Home & Garden and Mama Stortini's Ristorante & Catering 

 

image credit: Cluster, 12" x 17", coffee on paper, © Jeremy Mangan, 2008     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Kim Kopp

April/May 2009

exhibit dates: April 2 - May 28, 2009
 

Kim Kopp’s paintings are built upon the techniques of drawing, printmaking and bookbinding. Her work gains physical structure through the layering of paper and paint. Emotional structure is enhanced by embedding imagery, so that what might have been a discarded layer emerges as a shadow.  Echoing time and tide’s transient nature, Kopp’s artistic technique requires using erasers as often as brushes – she takes away pigment in one spot, only to add it back in another. Speaking about her choice of imagery, Kopp relates: While wandering, I may come across something - a darting bird, twisted kelp washed up on the beach, or the impression of wind whispering through fallen leaves.  Back in the studio, I attempt to seize the substance of these moments before they dissipate, and make them part of me.  

 

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image  windfall (pinnate/yellow), graphite, dry pigments, acrylic on Japanese papers over panel, 40” high x 30” wide, copyright Kim Kopp, 2009 (photo credit: Frank Huster) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paul McKee

January/February 2009

Sight (Collecting)

A dedication for Sight (Collecting) took place on Tuesday, February 24 at 4:00 p.m. at the south entrance of the Centennial Center. The artist Paul McKee talked about his painting after being introduced by the Kent Arts Commission. An artist’s reception followed. This event was free and open to the public. 
 

PaulMcKee 

Sight (Collecting) is composed of eighteen individual acrylic-on-canvas paintings. The title of Paul’s artwork refers to the different styles of collecting. Museum collections are built from individual objects, whereas Paul’s painting started with the spaces defined by the grid of window panes, which he then carefully made into a collection of individual paintings. The window he painted is part of the Tacoma Art Museum.
 

Paul McKee’s body of work is based upon the reflections he sees in urban buildings.  He is attracted to how the strict grid of a window’s panes contrasts with a flowing, reflected world. My art finds transcendence in the ordinary experiences of contemporary life. A glass box skyscraper seems ordinary, but it is really exotic when approached as if I’m outside of the culture that builds them.  I combine the sense of awe a newcomer might feel with the prolonged study only possible by a long-time resident. When I closely examine reflections in windows, I see the world anew, as if for the first time. 

 

image 

1. Sight (Collecting), acrylic on canvas, 78" x 123", copyright Paul McKee, 2007

 

Blue Earth Photographers

November/December 2008

 

From Antarctica to the Amazon:
Blue Earth Photographers Document Global Climate Change

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Daniel Beltrá  photographs the Amazon rainforest to witness the worst drought in living memory and the burning of thousands of untouched acres. Gary Braasch  illustrates how "the earth is becoming a different planet as the ice withdraws” with images from his recent book, Earth Under Fire: How Global Warming is Changing the WorldBenjamin Drummond and Sara Joy Steele  profile Sámi reindeer herdsmen from Norway, volunteer glacier monitors from Iceland and fishermen of the North Atlantic as their communities confront and adapt to environmental changes. And Camille Seaman  chronicles a handful of the many thousands of disappearing Polar icebergs.

These artists are sponsored project photographers of Blue Earth, a Seattle-based nonprofit that raises awareness about endangered cultures, threatened environments and social concerns around the world through photography.


artists' statements
 

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Facing Climate Change: The Nordic Collection 

Benjamin Drummond and Sara Joy Steele 
Climate change is our generation’s defining challenge.
 We are raising the temperature of our entire planet. The early signs we witness today result from 1.5 degrees Fahrenheit of warming during the past century. Scientists estimate that temperatures could rise up to 7 degrees over the next hundred years. The emission of carbon dioxide and other greenhouse gases forces fundamental questions of social justice, economic opportunity and environmental degradation, and presents an unprecedented threat to life as we know it. The struggle to engage and mobilize our culture is our generation’s defining challenge.

 

Facing Climate Change illustrates global change through local people. From semi-nomadic reindeer herders in Norway to wildland firefighters of the American West, we document the lives of people around the world as they confront and adapt to the complex issues surrounding global warming. In the summer and fall of 2006, we collected these profiles of Sámi reindeer herdsmen in Norway, volunteer glacier monitors from Iceland, and fishermen of the North Atlantic. We are currently seeking support to complete a series of profiles from the American West. 

 

For more information about our print and Web media, presentations and exhibitions, please visit www.facingclimatechange.org.  

Recipients of a 2008 Kent Arts Commission Exhibition award, Sara and Benj invited Daniel Beltrá, Gary Braasch and Camille Seaman to exhibit with them. The artists would like to thank to Martha Kongsgaard for her help with this exhibit. 

 

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Amazon: Forest At Risk
Daniel Beltrá
 

The Amazon Rainforest represents over half the world’s remaining tropical forests. This primeval wilderness harbors the greatest concentration of biodiversity on earth, with untold numbers of plant and animal species yet to be discovered. At the peak of the wet season one fifth of all the planet's river water swells the Amazon and its tributaries. A finely calibrated balance of rainfall, transpiration and evaporation perpetuates the surrounding weather systems in ways that scientists are only beginning to unravel. 

 

More than 17% of the Amazon has already been cleared by loggers, ranchers and soy farmers, much of it illegally. Fire is primary tool by which they clear the rainforest and the flames continue to burn, releasing enormous levels of carbon dioxide into the atmosphere. Brazil is the fourth largest producer of greenhouse gases on the planet, 75% of those result from burning the forest. These gases contribute to global warming. 

 

Thousands of miles away lies the Antarctic continent, one of the world’s most pristine environments. Not only does the fate of this remote wilderness hinge on the smallest upward change in global temperature, but the melting of the polar ice cap there will have a drastic effect on the lives of hundreds of millions of coastal residents around the world. 

 

By documenting these changes, I want to shine a light on this most critical issue of global warming. I hope that my photographs inspire a more detailed appreciation of the Amazon rainforest, the incredible human stress that it is under, and the global implications of it's survival and prosperity.
 

learn morewww.danielbeltra.com 

http://seattletimes.nwsource.com/html/pacificnw/2013154000_pacificpbeltra24.html 

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World View of Global Warming: A Photographic Documentation of Climate Change
Gary Braasch 
 

The goal of World View of Global Warming is to illustrate and report on the physical changes and science of climate change. In 1999 I began working in the polar regions, where temperature changes are greatest. By 2006 I had photographed on seven continents, in 22 nations, and in ecosystems from coral reefs to alpine summits. This work benefits from a dialogue with scientists and observers around the world. I also document solutions to global warming and energy issues.
 

You can find more images from this project in my book, Earth Under Fire: How Global Warming is Changing the World, published in 2007 by University of California Press.  Now in a second printing, and scheduled for an updated paperback edition in March 2009, this book has been lauded by IPCC scientists and called one of the “50 best environmental books and films” by Vanity Fair. In 2008 the project also became the basis of a kids book written with Lynne Cherry, How We Know What We Know About Our Changing Climate: Scientists and Kids Explore Global Warming.

 

learn morewww.worldviewofglobalwarming.org. 

 

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The Last Iceberg
Camille Seaman
 

The Last Iceberg is one piece of a larger project entitled Melting Away which documents the polar regions of our planet, their environments, life forms, history of human exploration and the communities that work and live there.

 

Nick Cave once sang, "All things move toward their end." Icebergs give the impression of doing just that, in their individual way much as humans do; they have been created of unique conditions and shaped by their environments to live a brief life in a manner solely their own. Some go the distance traveling for many years slowly being eroded by time and the elements; others get snagged on the rocks and are whittled away by persistent currents. Still others dramatically collapse in fits of passion and fury. 

 

The Last Iceberg chronicles just a handful of the many thousands of icebergs that are currently headed to their end. I approach the images of icebergs as portraits of individuals, much like family photos of my ancestors. I seek a moment in their life in which they convey their unique personality, some connection to our own experience and a glimpse of their soul, which endures.

These images were made in both the Arctic regions of Svalbard, Greenland, and Antarctica.

www.camilleseaman.com 


images
 

1, 2. Facing Climate Change — Sámi Reindeer Herdsmen. Archival inkjet print. Copyright Benjamin Drummond, 2006.

3. Rainforest Island. Digital Print. Copyright Daniel Beltrá, 2007.
4. Ice Cavern in Receding Glacier, Antarctica. Color transparency film printed on color paper. Copyright Gary Braasch, 2000.
5. Giant Non-Tabular Iceberg (Wedge), Weddell Sea, Antarctica. Archival inkjet print. Copyright Camille Seaman, 2005.


learn more
 

BlueEarth.org  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ford Gilbreath

September/October 2008

 

Water Samples 1997-2008

The closing reception on Thursday, October 30 included a special viewing of Ford Gilbreath’s stereoscopic photography.

 

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Water Samples 1997-2008
Using experimental photographic techniques, Ford Gilbreath explores local watersheds, both above and below the waterline. Water Samples 1997-2008 includes photographs of the Duwamish River, Licton Springs and Longfellow Creek, as well as the West Duwamish Greenbelt.

 

Ford Gilbreath began Water Samples 1997-2008 on a rainy night in 1997. Gilbreath was walking along the Duwamish River near his home, wishing that he could see the raindrops as they hit the surface of the river.  The next day, he bought a 10-gallon aquarium, mounted his camera and four flashes inside, and began wading into the water to take photographs. The resulting black-and-white prints are hand-colored. Painting the prints allows Gilbreath to explore the transparency of light and water, while emphasizing that “weather changes everything.”

 

In addition to photographing the streams, Ford Gilbreath is also photographing the woods. Consistently experimental in his pursuits, Gilbreath sought a way of working that would allow him to focus on small things, yet remain panoramic. Recognizing that a flatbed scanner is made to focus very closely, he took his scanner into the woods and removed the lid. The resulting imagery shares the same evocative aesthetic as the photographs taken from within the aquarium.
 

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about the artist 

Ford Gilbreath lives and works in Seattle. His imagery has consistently and creatively addressed the landscape of the Northwest from a perspective that is mindful of its spiritual past, its functional present, and its uncertain future. He pairs this awareness with an abiding interest in technique and technology that embraces such wide-ranging processes as stereography, hand-colored images, and direct scans in the landscape using a laptopcomputer and portable flatbed scanner.– No Strings Foundation


Ford Gilbreath was one of two recipients of the No Strings Foundation’s inaugural grant. This prestigious grant was awarded via a secret nomination process. In 2006, the final selection committee included curators from the Corcoran Gallery of Art in Washington, D.C., The Museum of Fine Arts in Houston and the RayKo Photo Center and Gallery in San Francisco.

 

Ford Gilbreath's work was featured in the Kent Summer Art Exhibit the past two years. He has been awarded a City of Kent Purchase Award, as well as a Kent Arts Commission Exhibit Award.

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curator’s note 

A stereoscope is an optic viewer that focuses two adjacent images into three dimensions. As a child, I looked at stereoscopic images with my red plastic View Master, falling like Alice into a cartoon world. Occasionally, I’d view a disk of archival imagery that was straight from Alice’s era, which made the stereoscope itself seem anachronistic. The stereoscope was developed just a year before the daguerreotype launched photography as we know it, and for a while the two technologies ran on parallel tracks. In time, convenience outweighed dimensionality: unlike stereoscopic photography, the flattened picture requires no cumbersome viewer. And dimensionality itself can be cumbersome: it requires time to focus. But the thrill of observation is endlessly satisfying. Glancing at a flat print, I cannot see the shimmer in a stream, or the delicacy of a shrub’s unfurling shoots. Just as I cannot see these qualities in an outdoor landscape as I speed by.

 

Seeing, and all of the requisite responsibility that comes with seeing accurately, is its own reward. When viewing art, I seek not just to experience the object, but to see it in a way that will forever alter my vision.

 

Ford Gilbreath photographs at dusk, when the oblique rays of the sun intensify depth. Looking through his stereoscope, my eyes adjust to this fading light. It takes time for me to look around these three dimensional landscapes. I gaze beyond a tree trunk to catch a starburst glimpse of the setting sun. Viewing these stereographs in my office, I am transfixed. Yet it isn’t until I’m bicycling home at sunset, peering into the underbrush and looking for starbursts, that it dawns on me: I’m now seeing the landscape that Ford sees. A week later, Ford returns. I tell my officemates to come and see something “cool.” Their enthusiasm and excitement confirms my own.

 

Ford’s stereoscopic photographs are magical and rare, perhaps even more so because they require a special viewing opportunity. So I’ve added a closing reception to our gallery schedule. In addition to talking about his exquisite exhibition, Ford will set up his stereoscopes and stereoscopic photographs for you to view. Please join us on Thursday, October 30 from 5:00 – 8:00 p.m. at the Centennial Gallery in Kent.

Cheryl dos Remedios, cdosremedios@kentwa.gov 

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images 

1. Longfellow Creek, Seattle, September 28, 2007 (R1F6), copyright Ford Gilbreath. 

2. Schmitz Park, West Seattle December 4, 2004 (scan 2), copyright Ford Gilbreath.
3. West Duwamish Greenbelt, January 29, 2007 (R1F1-2), copyright Ford Gilbreath.
4. Stereoscope and stereoscopic photograph titled Pigeon Point Park, August 14, 2006 (RF14-15), copyright Ford Gilbreath.
5. Artist-made stereoscopic camera, built and photographed by Ford Gilbreath.

 

portfolio 

Water Samples 1997 - 2007  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

channeling herbert

Centennial Center Gallery Archive: September/October 2007

The channeling herbert exhibit explored Herbert Bayer's influence on the art and design community. We remain grateful to the artists, landscape architects and historians who participated; their illumination of Herbert Bayer's work helped the Earthworks receive an exceptionally significant landmark designation in 2008. 

 

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The exhibit was installed in the amphitheater at the back of Earthworks Park during the 25th Anniversary Celebration in September 2007. A framed version was on display in the Centennial Center Gallery this same month. 

 

Essays begin below and can be viewed in their entirety by following the links. 

 

Tim Baird, RLA ASLA  

Vaughn Bell  

Greg Bell  

Charles Birnbaum, FASLA, FAAR  

Sam Bower  

Gwen F. Chanzit, Ph.D.  

Timothy Collins, Ph.D.  

T. Allan Comp, Ph.D.  

Betsy Damon  

Agnes Denes  

Tom Drugan  

Kathleen Frugé-Brown  

Richard Haag, FASLA, Hon. AIA  

Laura Haddad  

Mags Harries and Lajos Héder  

Paul Hobson  

Isabel K. Hogan  

John Hoge  

Patricia Johanson  

Lorna Jordan  

Stacy Levy  

Perri Lynch  

Alex Martin  

Brice Maryman, ASLA  

Robert Morris 

Dennis Oppenheim  

Beverly Pepper  

Peter Richards  

Jann Rosen-Queralt  

Paul Rucker  

Steven Siegel  

Buster Simpson  

Ellen Sollod  

Kristin L. Tollefson  

Ruth Marie Tomlinson  

Linda Van Nest  

Jeroen van Westen  

University of Washington Studio 

  

   

 

                                            

    

 Our culture needs models of "art that works" to solve problems in aesthetic and culturally resonant ways. The downstream impact of this artwork has inspired artists around the globe, leading the way towards what is now becoming a central art movement of our time.
exhibit introduction by 
Sam Bower
 

He used grass before any of us – and knew how to make mounds feel deeply mysterious: grass mountains, so earth-laden and earth-derived, and yet still feeling like they came from another planet. Looking back, I realize how much of an influence that sense of mystery exerted on my own use of material and making of shape – clearly, Herbert Bayer was an important influence on many land-art (earth) sculptors, as well as landscape architects. 
statement by artist 
Beverly Pepper
  

 

In addition to an appreciation for his elegant landform compositions, Bayer’s work is reflected in contemporary landscape architecture in primarily two ways: through his embrace of the public process and his insistence that art should serve a social purpose.essay by academic Tim Baird 

 

The Herbert Bayer earthwork in Kent was the first art piece I knew that had two distinct lives: one wet, one dry. And that concept—that a piece of sculpture could show you the changes in the landscape, was pivotal to me.
statement by artist 
Stacy Levy  

 

Beginning in the 1940s, Bayer’s design for the Aspen Institute for Humanistic Studies included buildings, murals, sculpture, and graphic design projects—all visually integrated among themselves and with the natural landscape. In 1955, he created grass mound, an "earthwork" forty feet in diameter. This monument of molded earth was constructed fully a decade before anyone had thought of that term, making him a pioneer in what is today known as site-specific sculpture.
essay by curator 
Gwen Chanzit
 

 

The Herbert Bayer Earthworks at Mill Creek Canyon is one of the premiere extant examples of the integration of art, landscape and water management, and as such is worthy of a design and management response that preserves the integrity of the resource while addressing present-day management concerns.
letter from 
Charles Birnbaum
 

 

Bureaucrats! It's beyond human resources to set a 10,000 year regulation. There are too many variables at play. Even if they're right, the whole damn system would be overcharged. They can't be serious about this - people have only been building for 5,000 years - the pyramids aren't even 5,000 years old. 

statement by landscape architect Richard Haag  

 

Herbert Bayer rebuffed this channelization of thought; above all else, he was a humanist of the highest order and embraced the overlaps, inconsistencies and the floodplains of thought that make the human experience richer.
essay by designer 
Brice Maryman  

 

Notably we ended at the Hill of Tara, standing amongst that ancient earthwork with its circular ditches and mounds that are an obvious point of reference for anyone interested in Bayer’s work.
essay by artist and academic 
Tim Collins  

 

Herbert came to visit me in my loft at 93 Crosby Street, came in his black silk shirt, and spent half a day looking at my work and talking with me. This was way back around 1980. I think his interest in my work came from a realization that his work was earthwork and that mine was a departure from anything previous. In other words, earthworks are different from ecological works in intent, form and execution.
statement by artist 
Agnes Denes
 

 

. . . artists come to similar conclusions at similar times without necessarily being aware of each other, and certainly without building on each other’s work. A sensitivity to the zeitgeist is perhaps the highest expression of what we do.
statement by artist 
Steven Siegel 

 

As an artist who has spent almost forty years trying to unify art and infrastructure with ecological nature and the public landscape, it is thrilling to find models that succeed beautifully.
statement by artist 
Patricia Johanson 

 

The longevity of the Morris and Bayer works tell of the both their acceptance and worthiness. Worthiness in not only the aesthetic sense but in the reclamation sense too. 
essay by curator 
Greg Bell 

 

Here I was, standing in Kent, in an obvious earthwork, as autonomous as a Michael Heizer, and as functional as a corps of engineers’ structure. The word ‘aesthetics’ came up, and I realized I should reconsider this word.
statement by artist 
Jeroen van Westen  

 

I know Herbert Bayer’s Earthworks aligns me with the very things that make me want to paint in the first place: the reverence, the intimacy, the sense of connection that come from standing for many hours outside in the woods or on a river bank.
statement by artist 
Kathleen Frugé-Brown 

  

When viewing the formalism of Bayer’s Earthworks at Mill Creek, and its intended function, I think of the story of the Zen tea master: upon inspecting an apprentice’s grooming of the tea garden, the master shook a nearby tree to allow its leaves to fall upon the manicured landscape, in order to complete the work by introducing natural chance.
statement by artist 
Buster Simpson  

 

. . . at the end of a long day of patting soft paper on rocks, I looked at the evening sky where the stars had started to sparkle. My first impression was that the patterns in the sky looked similar to the patterns of the stones of the river. It hit me like a flash of light – the universes are patterned on water and I knew nothing about water.
statement by artist 
Betsy Damon 

 

I moved to Kent in the summer of 1980 and Herbert Bayer’s Mill Creek Canyon Earthwork became part of my peripheral vision. It was a sculpted green valley that invited my kids to roll down its grassy hills and skateboard along the winding paths. We didn’t know of the park’s international acclaim or its significance to environmental art and the geo-stability of the Kent valley. We didn’t even realize it was art. It was just a good place to go.
statement by artist 
Ruth Marie Tomlinson  

 

 .  . .  it was the images I had from Herbert Bayer’s Mill Creek Canyon Earthworks that finally got through to the audience. Here was a real problem with a real and art-full solution – it worked to solve the environmental problem and it worked to address something in the human soul as well.
statement by project director 
T. Allan Comp  

 

Although Bayer’s work had not been realized at this time, we included it in the book as an important aspect that artists and designers could deal with the particular issues of the land and shape it to deal with particular problems.
statement by artist 
Mags Harries  

 

Robert Morris’ ethical questions raised at the symposium organized by the Seattle Art Museum in 1977 concerning the implications of wiping away land-use transgressions of the past through the application of an artistic overlay, strengthened our request to the City of Palo Alto . . .
statement by artist 
Peter Richards 

 

. . . the proposal for the Reclamation initiative required a new way of thinking about structure and how it could influence real land use. 
statement by artist 
Dennis Oppenheim 

 

Bayer’s Earthworks was an important influence during my research phase. By using art as a means to capture, hold, and convey stormwater, it provided inspiration and an important precedent.
statement by artist 
Lorna Jordan 

 

As a first year graduate student in landscape architecture, I began my art and design library. A monograph on Herbert Bayer was the first volume I purchased for my collection. I had seen images of Bayer’s Earthworks at Mill Creek Canyon in a class, and was instantly obsessed. I had to know more.
statement by artist 
Laura Haddad  

 

Herbert Bayer’s designs of the Aspen Institute’s modernist buildings contrasted with the town’s Victorian architecture, and the sinuous landscape of manmade earth forms were subtle and sensuous relative to the dramatic Maroon Bells of the Rocky Mountains that loom large above the town.
statement by artist 
Ellen Sollod  

 

As an aspiring painter in Santa Barbara in 1975, I jumped at the opportunity to become Herbert Bayer’s studio assistant, a decision that changed my focus as an artist forever. 
statement by artist 
Paul Hobson  

 

I found Herbert Bayer to be a patient man, always eager to hear about progress on the project.
statement artist by 
John Hoge
 

  

As we built The Daylight over the course of the summer, we witnessed hundreds of park visitors walk through the site – sometimes in a chatting group with friends or family, other visitors walking in solitary reflection.
statement by choreographer 
Alex Martin  

 

Creating music inspired by the Earthworks will be a natural progression, influenced by a work of art that still can be described as progressive and challenging.
statement by artist and musician 
Paul Rucker 

  

Bayer’s Earthworks at Mill Creek Canyon frames the slow, lapping, tension between water that shapes land, and land that shapes water.
statement by artist 
Perri Lynch 

  

In 1890 the Kent Lumber Company began operating on Mill Creek at the base of Kent’s East Hill. Loggers wearing caulks and carrying peavey poles would use oxen to pull huge logs along the skid road to Mill Creek canyon.
essay by historian 
Linda Van Nest  

 

Creating in the interface between art and ecology is a fragile pursuit: one navigates environmental accountability, education, aesthetics, varying degrees of societal judgment, and changing views of the times. In this light, the interest that has followed Bayer’s Earthworks over twenty-five years is even more remarkable. 
statement by artist 
Kristin L. Tollefson  

 

Drawn to certain places and the power they exert, I am also driven by the need to explore the paradoxical ways in which humans relate to their environment.statement by artist Vaughn Bell
 

 

Through my work as a problem solver and initiator, I hope to inspire and incite change in social visions, thus improving the quality of the built and natural environment.
statement by artist 
Jann Rosen-Queralt  

 

Luckily for us, enlightened artists such as Bayer, and enlightened public agencies such as King County and the City of Kent showed the world how public art can reach beyond the metaphorical and iconic, and through collaborative efforts create a multidimensional environment that is both aesthetically rich and functionally dynamic.
statement by artist 
Tom Drugan
 

 

It has always seemed to me that when an artist is asked to speak about his work, that one of two assumptions is being made: one, that because he has made something, he has anything to say about it, or two, if he does, he would want to. Questionable assumptions, in my opinion. 

essay by Robert Morris