COVID 19 murals in Seattle: Pioneer Square

Pioneer Square has many many murals. I photographed a few of them and then discovered there is a walking tour which identifies a lot more of them. They are sponsored by the Alliance for Pioneer Square and Pioneer Square Business Improvement Association. In the case of the Globe Bookstore, the owner reached out to a specific artist, Sam Day ( whom I just discovered does the great cartoons in Real Change).

That may be true for other artists as well. According to one person I spoke with, many of these artists work in Pioneer Square and they are being paid a lot to make these paintings. That is interesting. I have not asked any of the artists I have met what they are paid, but I know there was a go fund me page for some of them.

What is terrific is that we are seeing art all over the place. Anyone can go out and enjoy these paintings as you start to move outside your neighborhood. Ballard is coming next, and Georgetown! .

Where I could find the artist I have added it. I will just present them as I saw them ( keeping in mind that I missed a lot, so look at the walking tour for more information and imagery). You will see the wildly contrasting styles of the artists. Below is the Buttick MFG Co with its huge mural by Jonathan Wakuda and Wakuda Studios stretching around the corner.

COVID 19 mural art on Capital Hill May 2020

This is an introductory essay on the mural art in Seattle that is filling the boarded up windows of so many stores. I need to do a lot more research on the artists and the sponsors, but here I will simply post the murals I saw yesterday. I spoke with one artist Tara Velan who was working on a mural as I spoke to her, and I spoke to one sponsor, Oddfellows Hall, who explained that they put out a call and paid the artists.

More to Come. Here are the murals. They range from subtle work to pop, from highly trained to graffitti. As a person who has written about mural art in the 1930s and 1960s, the first era inspired by Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, the three great Mexican muralists, the second era partially by Judy Baca, who studied with Siqueiros, it is clear we are in a new era today.

The artists draw from many directions, but there is no larger political message/ philosophy that I saw. No anti capitalism or references to the failures of the government, or underlying issues. The murals are of course on the windows of stores, but they are small businesses in grave danger of disappearing, so a larger message seems possible, but perhaps not what these stores want. Perhaps when I venture down to Pioneer Square, I will see a different story.

On the other hand, collectively they create a strong message of solidarity that we all can benefit from at this moment, even though few people are actually walking on the street. I have simply put up all the murals I saw as I walked down the street, no editing, no curating! You will see how many different styles appear. And our current pandemic has its own iconography such as”Tiger King.” which will be available for future art historians to puzzle over.

The New Deal Era and Today: Some comparisons

Recently references to the New Deal programs that provided federal assistance to painters, photographers ( Dorothea Lange being the most famous), and theater ( the shut down of Hallie Flanigan’s radical Theater Program), abound in our press these days, as the Corona Virus devastates the arts and the creative sphere. Even the conservative commentator David Brooks was suggesting a federal service work program for youth starting in the fall.

Today May 7 is the day that Roosevelt launched the Works Progress Administration. The Art Programs actually began much earlier, immediately after his inauguration in 1933. The government began to develop a program with an hourly wage to ensure the survival of artists. They followed on several years of fragmented private programs that helped the artists: one early program was organized by the College Art Association.

But these govenrment programs did not happen spontaneously. Government support was the result of the artists forceful demonstrations and their self proclaimed identity as unemployed workers, affiliated with powerful unions. Artists’s confrontational tactics led the government to see them as a force to be contained. Since artists identified with workers, the government could justify supporting them as workers.

Harry Hopkins was a social worker whom Roosevelt hired to direct the entire WPA program. He believed in art programs.

In my book Art and Politics in the 1930s, Modernism, Marxism, Americanism, I discuss the political positions of the cultural environment in those days , as suggested in the title. As today, there were great disagreements between the left and the right. There were pro Nazi rallies, refusal of boats filled with desperate Jewish refugees, and fear of Soviet policies on the one hand, and Communists and Socialists on the other hand. Translated into today’s terms, we have White Supremacists and some deeply right wing Republicans on the one hand, and Bernie Sanders followers and believers in socialist principles on the other.

Official Communism as in joining the party was not widespread among artists, because they didn’t like to be told what to do, but some artists did become deeply involved as seen in the radical left newspaper New Masses.

With widespread unemployment, artists and writers joined forces with striking workers. They believed in collective action, in supporting those who were suffering.

Wiliam Gropper depicted the miners living conditions and their conflicts, .

He and Walter Quirt, among others, participated and recorded the World War I veterans asking for food as they marched to Washington in 1932.

Other artists went through the South and photographed victims of the Dust Bowl ( Ben and Bernarda Shahn were the earliest to drive into the South) and of course Dorothea Lange’s famous photo is in this category although with different sponsorship, the Farm Security Administration.

Paul Strand made films that explained why there was a Dust Bowl, such as The Plow that Broke the Plain.

Radical writers, theater producers, actors, and even musicans all joined in the cause of protesting injustice.

They banded together in the Artists Union and the Popular Front as well as the American Artists’ Congress, which brought together a wide political spectrum of artists and writers. Left to right above: Heywood Broun (radical journalist), George Biddle, Stuart Davis, Julia Codesido ( from Peru), Lewis Mumford ( at podium), Margaret Bourke-White, Rockwell Kent, Jose Clemente Orozco, paul Manshi, Peter Blume, Aaron Douglas.

That first federal program was called the Public Works of Art Project. It was the first art program to directly utilize one million in relief funds out of 400 million allocated for relief for workers. through the Treasury Department. Edward Bruce was the tireless planner : Here is one official description: “During its short 5-month life in 1933-34, the PWAP employed 3,749 artists, who created 15,663 works of art.  These works included 7 Navajo blankets, 9 bas reliefs, 42 frescoes, 99 carvings, 314 drawings, 647 sculptures, 1,076 etchings, and 3,821 oil paintings.  Such works of art decorated public schools, orphanages, public libraries, and “practically every type of public building.”  Museums sought and displayed the work, and many Americans were “made familiar for the first time with the contemporary art of their own country…”

A little over $1.3 million was spent on the project (about $23 million in 2015 dollars), with nearly $1.2 million going towards the artists’ paychecks”

But this program failed to reach many people. It stumbled on the idea of “quality.” The advisory committee was drawn from museum directors, all men with one exception, Juliana Force of the Whitney Museum. It only funded established artists.

Edward Bruce went on to lead the Treasury Section of Fine Arts which created murals for Post Offices and Federal buildings. At the end of the decade he sponsored the 48 states competition . But as everyone knows, these were not exactly radical. They were tied to the “American Scene”

Often artists sent out to rural areas had to negotiate with the people on what to represent or fatten up their farmers!

A new relief program began in the summer of 1935: Federal Project Number One, included theater, music and writing as well as visual arts. Directed by Holger Cahill ( born in Iceland! ) from 1935 – 1943, he was committed to what he called “cultural democracy”. As I say in my book Art and Politics in the 1930s in my chapter on Cahill: ” Cahill could sell his program to bureaucrats on one day and to a small- town mayor on the next. He could drink tea and play poker, charming both millionaires and Marxists. He spent much of his time as administrator on trains, promoting the art program in small towns across the country. ”

Cahill was immersed in the philosophy of John Dewey and Thorstein Veblen, he believed in the beauty of folk art, the art of everyday life, but he wanted to sponsor a wide range of styles and subject matter.

Here is another quote from my book:

“In August 1935, armed with nostalgic Americanism, Deweyan pragmatism, some Marxism, and a lot of populism, Cahill joined the New Deal bureaucracy. He was anxious to bridge the gap between the creative artist and the government bureaucracy. Recognizing that the support of Eleanor and Franklin Roosevelt and Harry Hopkins was crucial, Cahill adopted New Deal rhetoric in his speeches as often as possible. Late in his own life, Cahill paid tribute to Roosevelt: ‘At a time when it looked like our civilization couldn’t afford itself, [President Roosevelt] had the courage to establish the greatest art program in this nation’s history.’ “

Indeed Eleanor was crucial to obtaining ongoing support for the program and manipulating which department funded it, thus keeping it going longer.

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This crucial tribute to the Roosevelts stands out in contrast to our current atmosphere in the government of greed, self serving political maneuvering, and philistinism.

According to one manual, the Federal Art Project for visual artists included mural painting; easel painting,oils,water colors, drawings, graphic arts; sculpture; applied arts, posters, signs, arts and crafts- metal work, decorative wood carving, ceramics, weaving, photography; lectures, criticism, research, pamphlets and monographs on various phases of American art; circulating exhibitions of art; art teaching; drafting, charts, maps, models, stage design, and restoration. Based on his fervent desire to make the art world more democratic, Cahill promoted two programs that do not appear on this list: the Index of American Design and the Community Art Centers. The first supported the preservation of design, the second took art into communities that had not even seen art much less produced it before particularly in the South and West.

The Community Art Centers reached out specifically to African Americans and included the famous Harlem Art Center, the source of support for so many later to be famous African American aritsts. In the South it bowed to larger forces of racism and set up two separate art centers for Blacks and Whites, but again, many artists began careers there that would later become famous.

Other New Deal programs reached out to Indigenous artists many of whom also became well known. The Indian Reorganization Act of 1934 completely changed federal policy toward Natives. In addition to many legal changes, the New Deal supported work for natives as well as art in the Indian Arts and Crafts Act of 1935. Jennifer McLerran’s points out its strenghts and weaknesses ( particularly in emphasizing a nostalgic reference to the past, a characteristic of the New Deal as a whole).

So when today we speak of a new New Deal in anything, art, health, climate, we have to recognize the huge gulf between the liberals and progressives of the Roosevelt administration and our current moment, the divisive gap in our country encouraged by the present administration, is in stark contrast to the efforts to serve the people, to bring people together and to help them survive in the 1930s.

The radical actions of the artists in the early years of the decades before the Roosevelt administration began served as a catapult for the desire to support artists. We need such a catapult from the artists write now, to project into the NEXT ADMINISTRATION. In Italy the artists are organizing.

Hopefully the artists here can do that also.

Some Public Art in the Central District: Jimi Hendrix Park and the Shadow Wall

Scott Murase with Murase Associates designed the recently completed Shadow Wall sculpture in the Jimi Hendrix Park. The same firm beautifully designed the whole park to loosely suggest a guitar.  

From the entrance at 2400 S Massachusetts Ave, the Hendrix signature on the wall leads us on a purple (now faded to blue) swirling path inscribed with the poetic words of two Hendrix songs “Angel” and “Little Wing.” The beautiful words remind us that Hendrix was a poet as well as an extraordinary musician.

The lyrics continue:

“She stayed with me just long enough to rescue me And she told me a story yesterday about the sweet love between the moon and the deep blue sea. And then she spread her wings high over me.

“She said she’s going to come back tomorrow and I said fly on my sweet angel, fly on through the sky. Fly on my sweet angel tomorrow I’m gonna be by your side. Sure enough this morning comes to me silver wing silhouette against a child’s sunrise And my angel, she said to me, today is the day for you to rise. Take my hand, your’re gonna be my man You’re gonna rise

And she took me high over yonder

And I said fly on my sweet angel Fly through the sky Fly on through the sky Fly on my sweet angel. Forever I will be on your side. ( 1967)

Here you see the original purple sent to me courtesy of Scott Murase.

Horizontal strips provide a succinct biography of Hendrix’s amazing life from humble beginnings in the Central District to world-wide fame.

For example one strip states: The original Jimi Hendrix Experience disbanded in June 1969. On August 18, 1969, Jimi’s new ensemble group Gypsy Sun and Rainbows headlined Woodstock Art and Music Fair in upstate New York, where Jimi delivered unforgettable rendition of “Star Spangled Banner.”

The path leads to the large red butterfly that hangs over the seating area, intended for performance and community gatherings.

A portrait of Jimi Hendrix dominates the newly installed Shadow Wall. From that focus it swirls out with a perforated steel curtain that creates vibrant shadows, including silhouette cut outs of the musician.

Appropriate to the incredibly innovative Hendrix, it transforms a static memorial sculpture into a vibrant space filled with rhythms  that echo and fold back on themselves as we walk through it. The patterns in the shadows suggest swelling music. Hendrix came from great poverty and emotional challenges in his youth, but his staggering musical talent on the guitar led him to world wide fame.

“Climate Change Alert through Arctic Aesthetics” by Jean Bundy, Art Critic based in Anchorage Alaska

This paper was presented in the International Art Critics Association session at the College Art Association February 2020 Jean Bundy is the Climate Change Envoy for AICA-INTERNATIONAL

Introduction

In the Eighteenth Century Captain Cook era, when exploration and desired acquisition of the Pacific Northwest was mapped and illustrated, it became evident that these locations had abundant flora, fauna, and minerals. Encountering the Indigenous, who were often abused, was a resource for survival, scientific research, and financial gain, which continued through the Russian takeover, the Alaska purchase, 1867 and yes, through Statehood, 1959.

In the Twenty-First Century, Alaska Natives and other Arctic aboriginals are finally being appreciated for stewardship of their lands and acute awareness of Bush Climate Change. Explorers/scientists and tourists venture to the 49^th state, not to claim territory, but to paint, photograph, wilderness adventure, and observe/document the Arctic with cameras/instrumentation unimaginable to Cook.

Alaska’s changing environment has been obvious to all residents for the past several decades. Increased forest fires, die-offs of: Salmon, Murres, and Seals, bug infested trees, and toxic algae, are evident in urban areas as well.

Lack of snow and melting glaciers impact Bush living as seacoast towns are eroding, and icepacks needed for safely hunting sea mammals are shrinking. Increasing amounts of CO₂ found in the ocean are also leaching out of the ground as tundra melts, witnessed by rising/falling Pingos.  

These are humongous problems that can’t be solved without cooperation from governments willing to shell out large sums of cash while putting their countries on energy diets and adopting more user-friendly recycling and pollution programs. 

So, does educating the public to the rapidly melting Arctic through aesthetic visualization do any good? And are there ironic silver linings found within Global Warming such as: longer growing seasons, anthropological discoveries, Arctic communities benefitting from installation of fiber-optic cables because of the surfacing Northwest Passage?

The Christies’ Symposium, June 11, 2019, stressed that “art brings the invisible to our attention.” So why not use this phenomenon to extend Heidegger’s definition of ‘Being’ by cleaning up the living Earth?

Aesthetic narratives, that steamroll Captain Cook’s or Averill Harriman’s masculine adventuresome fantasies, get replaced by gender-neutral themes: oceanic pollution, sea ice melt, coastal erosion, and respect for Indigenous populations.

Six artists working across the Arctic possess different backgrounds which culminate in multiple perspectives, making art to heighten awareness of Climate Change, thus heralding the aesthetic importance of the North.

1: Ásthildur Jónsdóttir (Iceland) ‘Arctic Aesthetics, 2019’

Jónsdóttir hand stitched/painted the Eight countries that reside in the Arctic Circle, saying she wanted to be “involved with issues concerning the ecology of the planet….[and to encourage engagement] in the beauty of the Arctic, both physically and psychologically.” Her art moves beyond craft morphing into fine art, overlaying the essence of ancient artifacts upon contemporary art making. Jónsdóttir’s piece was displayed at the Second Arctic Arts Conference, Rovaniemi, Finland, June 2019, while a similar photographic map was projected at the First Arctic Art conference, Harstad Norway June 2017.

Most maps are shown from the vantage point of the equator where notable historic travel, transportation and colonial entrepreneurship occurred. Looking at the world from the top down, disorients, but ultimately creates a greater sensitivity about this region and its importance to the rest of the Globe, in light of accelerated melting.

Referencing Alaska, beginning with Russian colonization, and continuing under US ownership, white Settlers came and established towns and businesses without recognizing the historical rights of Indigenous populations. The Alaska Natives Claims Settlement Act (ANCSA) 1971  resolved aboriginal land rights by transferring 40 million acres of land to about 200 corporations in which Alaska Natives are shareholders. Because the corporations are businesses and not governments, ongoing disputes between Native villages and the Federal/State agencies continue.

Scandinavia’s history, like Alaska’s, is about white Settlers/entrepreneurs disrupting the semi-nomadic Sámi ancient traditions. Like Alaska Natives, Sámi view land as a borrowed gift/resource for hunting and fishing and don’t conceive of land as Western ownership/real estate.  In the late Nineteenth Century, the Norwegian government began appropriating Sámi lands which were resource rich and economically viable. Sámi were ordered to assimilate into Norwegian culture and language; children were sent to state run boarding schools like Alaska Native children.

In 1987, the Norwegian government gave Sámi their own parliament, with other Scandinavian Sámi parliaments also established. But many feel this attempt to re-establish/recognize Sámi governance is window dressing. For example, governments cull Sámi reindeer herds, rationalizing there are too many per acre. In reality, grazing lands are more remunerative developed for natural resources.

It has always been perceived that the North can’t think for itself.  There is the “North” created by outsiders, which often overtakes insider “North.” The intent of recent Arctic Arts Summits is to visualize cultural similarities between Arctic countries which are experiencing similar political and environmental frustrations.

However, attitudes are changing as Indigenous groups are becoming appreciated for their acute understanding of Nature’s harmonies/balances, as they strive to be guardians of all things land/sea related. The outside world still has the stronger hold on mineral rights as well as control of hunting and fishing. However, Tourism has become a new resource for Arctic prosperity, with Indigenous art the preferred commodity sold.

Sadly, fake Sámi and Alaska Native art is also popular. Many residing in the North feel there are too many tourists, too many cruise ships, polluting/eroding natural surroundings.

Finding an Arctic voice, which appreciates the beauty of landscape/wildlife, while coping with Twenty-First century development, continues to challenge ancient Indigenous ways, and now the impact of Global Warming. Can there ever be a balance between development and the environment?  Exhibiting aesthetic objectivity helps imagine solutions.

2: Brian Adams (Iñupiaq) photographer, ‘Kivalina Sea Wall, 2007’

Adams’ photograph seeks humanity beneath the surface. Kivalina is an island of four hundred Iñupiaq residents in the Northwest Arctic Borough, which is slowly returning to the sea. Residents hunt the Bowhead whale, which becomes harder as ice packs grow thinner. Before missionaries were sent to Alaska and imposed Western ideas of stationary communities upon Natives, seasonal relocation to inland fish camps was the norm.

Disruption becomes a much bigger deal when towns with buildings, bureaucracies, and communication systems are permanent places. Boxes and sandbags are a temporary fix to the reality that endangered villages will eventually have to move and at great expense.

3: Marek Ranis (Poland/USA), associate professor at the University of North Carolina, Charlotte ‘Faith, 2017’

Ranis’ Faith (2017), a transparent digital print of an inverted oil rig superimposed against an Arctic sunrise/sunset, situated in a window, mimics stained glass, suggesting sacred venues of contemplation and rejuvenation. Ranis positions this handsome machine, center stage, like the image of a saint in a cathedral window.  This upside down rig allows viewers to pause and contemplate mechanisms that extract needed oil, providing Norway with wealth and social services, but also the possibility of an environmental disaster.

However, the gorgeous landscape behind the rig, produced by the sun’s energy, can also generate devastation without man’s assistance. The sunrise/sunset becomes a metaphor for considering frictions between increased mineral exploration, and Sámi reindeer herders lobbying to preserve needed pasture lands.  The Arctic tug between preserving raw beauty and harnessing nature for profit continues throughout all communities.

In Alaska the debate about whether to allow copper mining near Bristol Bay, home to commercial and recreational Salmon fishing, continues with the conundrum that providing jobs to Indigenous locals, who can’t rely on total subsistence, may pose environmental consequences if a mine were to leach toxins. Harkening back to early Twentieth Century ‘Heideggerian’ discussions on the potency of the machine age, then fast forward to the Twenty-First century with its sophisticated automation, has progress been made when it comes to utilizing technology safely/efficiently and at what expense to the environment?

4: Geir Tore Holm (Norwegian), ‘Fughetta, 2014’

Holm’s Fughetta (2014), are reindeer carcasses soaked in resin and electrified, resembling The Human Body Exhibition.  Holm, who lives on a farm, is reconfiguring reindeer, the livelihood and sustenance of the Sámi, as a surreal chandelier or butchered meat hanging/aging in a cooler. By isolating reindeer from grazing sites, viewers are forced to think about Nature that can quickly be refigured into a heartless commodity.

Is it proper for the Norwegian government to cull Sámi herds, so the real estate can be developed? Perhaps further Climate Change will make what seems unnatural, the taken-for-granted norm. Fughetta is also reminiscent of compositional Fugues which have multiple voices. Fughetta suggests musical rhythms, as the reindeer remains swing from a ceiling. Pendulum motions suggest hangings too, and the tug of war between environmental groups and mining companies.

5: Allison Akootchook Warden (Iñupiaq) and Nicholas Galanin (Tlingit) video, ‘Envoy, 2016’

Warden, known for choreographed rap, and Sitka filmmaker Galanin, produced the video Envoy (2016). One segment shows a Polar Bear frantically pacing in a not so politically correct ‘Natural History’ concrete space. Until recently, zoos kept animals confined as specimens, giving little thought to their environmental needs.

The Polar Bear has become the poster child for Global Warming as Arctic sea ice, the bear’s habitat, is melting. Ironically, zoos may be the only places Polar Bears will exist, hopefully better than the one pictured. 

In Warden’s footage the matted bear who resides alone in a concrete jungle represents environmental carelessness at its worst, as well as man’s lack of foresight. Although, not the cuddly creatures appearing in Disney footage, or Coke commercials, Polar Bears deserve saving.

6: James Temte (Northern Cheyenne) adjunct professor at Alaska Pacific University, ‘THINK NEXT OVER NOW, 2019’

Temte’s outdoor billboard-esque photograph is made of large plastic tessellations, picturing a pre-teen standing in a field, clasping a handful of dirt/vegetation. The youth could be male or female of any ethnicity. This young person is wearing a logoed t-shirt and warm-up jacket that is also gender-less. Hair is shoulder length with bangs—any kid’s cut.

Some of the background squares have deliberately been omitted, creating black emptiness, suggesting what life might be like when Climate Change erases the Earth, as we know it. Since this is a parking area, ‘handicap’ signs not only couldn’t be removed, they become part of the composition. One of the ‘handicap’ signs fetched up on the breast pocket of the youth’s track suit and looks like the garment came with that label.

This entire piece becomes a narrative for Global Warming, with the ‘every-youth’ cradling a piece of Earth. Yes, we are ‘handicapped’ as we begin to figure out how to balance productivity with cleansing the environment. Each word of ‘THINK NEXT OVER NOW,’ executed in different fonts, makes a statement, becoming contemplative verbiage hanging over the youth, landscape, and all of us.

Driving by Temte’s mural forces Anchorage residents, who are going about their daily routines, to consider Climate Change—subtleties override being scolded. Global Warming has been happening/accelerating/ignored since the Industrial Revolution and can’t be fixed ASAP, which really depresses teens like the one depicted in this mural.

Of note: mysterious dust was found in late Nineteen Century Greenland, by Swedish explorer Erik Nordenskiöld, finally identified as coal, blown North from the Industrial Revolution of Europe and North America (Hatfield 174,175).  

According to Temte, “I see a need for including art specifically public art in the climate change conversation. As a scientist I know that data collection is important to track the impacts occurring in the arctic however, looking at an excel spreadsheet of data points may not be as compelling as seeing our stories depicted in murals across our communities. The language of art can connect with everyone from children to our elders. The more that  communities can come together and agree that actions need to be taken and that we are all a part of the solution the more ground we can make on addressing and potentially slowing the effects of climate change.”  Like all things social and political, change doesn’t occur until a panic button is visualized, and hopefully pushed.

Conclusion

At Christie’sSeminar, New York City, June 11, 2019, it was agreed that Global Warming was complicated and shouting at people to reduce Carbon Footprints fails.

According to a wall label at the Arktikum Museum, Rovaniemi, Finland, “The world is becoming increasingly connected, through shared social, environmental, cultural and economic challenges, requiring different forms of transnational knowledge and solutions.” 

Last April’s Notre Dame fire proved art is the greatest metaphor for Globalism. On Place Jean Paul II, a plethora of ethnicities stood, prayed and cried, while millions worldwide watched on electronic media, as fire fighters saved most of the structure. Instantly monies poured in from all parts of the Globe, because people worldwide want to feel a part of rebuilding a monument which has endured the historical dichotomy: suffering and euphoria. Fire didn’t care about cultural divides; it just enjoyed melting lead and smoldering centuries old wood into charcoal.

Art promotes the invisible through visual dialogue, museum or neighborhood involvement, and self-awareness of belonging to place. Artists with a sincere investment in the Earth are not only stewards, but beacons for the mess that needs cleaning-up.

Photographs by David Bundy except Brian Adams (Iñupiaq) photographer, ‘Kivalina Sea Wall,

Bibliography Most information was gleaned from reportage at the First Arctic Arts Conference, Harstad, Norway, June, 2017 and the Second Arctic Arts Conference Rovaniemi, Finland, June, 2019, which became online articles (www.anchoragepress.com) and an AICA-International 51^st Congress, Taiwan, Fall 2018, presentation.

Papers by Jean Bundy

Arctic Environmental Challenges Through Virtuality, is available through AICA-INT (AICA Taiwan Congress, November 14-21 2018)

ART SLEUTH: Norway’s Arctic Arts Summit (July 4, 2017)

ART SLEUTH: Norway’s Arctic Arts Summit — part 2 (July 11, 2017)

The Sleuth Takes Arctic Art to Taiwan –Part 1 (December 5, 2018)

Alaska Native Artists Help ‘Make the North Great Again (June 24, 2019)

James Temte’s Outdoor Mural — It’s Not Outsider Art (November 4, 2019)

Temte, James. “Re: Jean Bundy for the Anchorage Press.” Message to the author. October 30, 2019. E-mail

Books: Quoted or Consulted

Fringe, edited by Maria Huhmarniemi, ISBN: 978-052-337-156-9; Pdf ISBN: 978-952-337-157-6

What is the Imagined North? Daniel Chartier, Arctic Arts Summit, 2018, ISBN: 978-2-923385-25-9

Arctic Pocket Book,Artikum Service Ltd.2017, Finland, ISBN: 978-952-938576-8

Heidegger, Martin. Being and Time,translated by Joan Stambaugh. State University of New York Press, Albany, 2010

——The Question Concerning Technology, translated by William Lovitt.Harper and Row, New York, 1977

McAleer, John and Nigel Rigby.Captain Cook and the Pacific.Yale University Press, New Haven, 2017

Jamail, Dahr. The End of Ice.The New Press, New York, 2019

Hatfield, Philip. Lines in the Ice. Philip Hatfield, McGill-Queen’s University Press, Montreal, 2016

Adams, Brian. I AM ALASKAN.University of Alaska Press, Fairbanks, 2013

“Between Bodies”

Henry Art Gallery, University of Washington Oct 27, 2018 – Apr 28, 2019

The eight artists in “Between Bodies” take us from the air, to the minerals deep in the earth, the untamed rivers, the smoking forest, and finally to the sounds and microorganisms of the deep sea. They explore metaphors of sexual transformation, intraspecies and trans species communication, future avatars and present voices. We witness the fragility and destructibility of nature, as we experience its power and invisible miracles. All of these artists care deeply about the dire condition of the planet and seek ways to halt or reverse the violent assaults perpetrated by those in power. They give us imaginary futures based on present catastrophes.

Curated by Nina Bozicnik “Between Bodies” features eight artists who work with the interface of technology and nature, what she calls “humans and more than humans” and the “legacies of violence” on the planet. The artists work in multiple media:  archive, text, sculpture, video, virtual reality as well as across disciplines, science, art, history, science fiction, poetry, storytelling.

At the entrance we pass through Hormonal Fog by Candice Lin and Patrick Staff. Herbal tinctures (licorice root, hops, black cohosh root, and dong quai root,) dispersed by a fog machine fill the air with anti testosterone herbs that gentle our aggressive tendencies, one way forward for the planet.   

Caitlin Berrigan’s challenging multi-part Treatise on Imaginary Explosions, Vol. II. 2016–2018 requires us to give up real time and surrender to its narratives, fragments, and multipart structure. In the main theme transgender scientists prematurely trigger simultaneous volcanic eruptions all over the planet. Berrigan links patriarchal extractions of the earth and the rape of the individual body, identifying these eruptions as an opportunity for radical transformation.

In two facing spaces the Treatise includes a “digital elevation topographical rendering” of Eyjafjallajökull, a volcano in Iceland juxtaposed to physical objects including a physical chunk of mineral on a brass chain, journals, a necklace/talisman suggesting interstellar travel and several videos. There is also an acoustic environment that we are invited to activate. The seismic vibrations echo inside our bodies.

Scrolling over a video of a rotating mineral, a poem suggests:

“Alliances of friendship outlast and overcome

any force of social or environmental trauma.

First we must find each other.

We must cohere.

In alliance, we move together.

We mineralize.”

In the main gallery Water Portraits, Carolina Caycedo’s huge prints on canvas, hang from ceiling to floor surrounding us with giant kaledeiscope-like images of rushing river waters. Some evoke giant vaginal labia.

Caycedo has worked for twelve years on “Be Dammed,” a project that looks at the impact of dams in Colombia, specifically on the Yuma River, also known as the Magdalena River, where no fewer than nineteen corporate dams are planned.  The artist spent months speaking with local indigenous peoples (she has her own roots in the area) about their lives before and after the dams.  

Her film A Gente Rio/We River underscores both the large scale corporate destruction of lives on the river and intimate details of survival such as a hand holding tiny crumbs of gold sieved from the river.

Sin Sol, Forest Memory by micha cárdenas and Abraham Avnisan immerses us in a forest landscape on three walls 

Hanging in the center of the gallery ipads offer a conversation between Aura, a virtual reality ancestor from the future and a present person who recites poems about the impact of living in a smoke filled landscape: “No trees, no horizons all gray. People like me need to stay inside. It’s been weeks.;” “I fear the future of a world on fire, not just smoke but fire might mean more hate.” I found these poems almost desperately sad especially now that we have had the season of wild fires in Australia, it is all the more believable.

Susanne Winterling’s Glistening Troubles animates resin replicas of bioluminescent single cell organisms on individual monitors. We feel we are underwater with them in a fragile environment that periodically vanishes as the screens go blank.  An interview with a fisherman/guide suggests that historically these glowing creatures were seen as magical because they made the water glow, today they are valued for healing properties. Dependent on salt water, they respond to movement both human and natural. Too much fresh water stimulates them to retreat into the depths.  Winterling emphasizes communication among these organisms and the natural environment, as well as our ability to disrupt or poison them with toxins.

Finally, Acoustic Ocean by the internationally renowned ecological artist, Ursula Biemann, connects us to deep sea sounds. Ironically first heard as a result of a military project, the sonar communications again refer to interspecies communication, particularly whales. Sofia Jannok, singer, environmental activist, and indigenous Sami speaks of the impact of changing climates on her community. She then insets listening devices into the sea of a desolate arctic landscape and listens to the sounds of the deep Arctic sea.

“Between Bodies” demanded time to embrace these alternative ways of experiencing the natural world, but it also offered possibilities for a future beyond confrontation and aggression. Taking another deep breath of Hormonal Fog on the way out reinforced that. ( written for Sculpture magazine, but never published so here it is free for nothing)

Added March 2020: We especially need that hormonal fog with our current global crises, hugely aggravated in the US by incompetence at the top ( some people say a deliberate strategy to wipe out the low income wage earners and replace them with robots and digital technology) . Viruses are not directly addressed in these works, but the interconnections of technology, human and nature is profoundly important to us at this moment. These artists are offering a new way to think about that.

John Akomfrah!

John Akomfrah’s “Future History” (until May 3, 2020) majestically fills three major galleries on the fourth floor of the Seattle Art Museum with video works projected on huge walls in separate darkened rooms.

Brilliantly curated by Pamela McClusky, Curator of African and Oceanic Art, the three works span 500 years of history from the beginning of the slave trade in Elizabethan England to the present moment. Each work is immersive and mesmerizing. You will not be able to stop watching them. As McClusky pointed out, the experience is the opposite of racing through a gallery and giving 30 seconds to each work. Here we watch for up to 45 minutes.

We first encounter Vertigo Sea of 2015.  In this photograph we see Olaudah Equiano. Thanks to Pamela, we have what are known as “footnotes” for the exhibition, individual sheets we can take home. I had never heard of Olaudah Equiano, but he is monumentally important in the history of slavery. Here we see a man dressed in the typical garb of the eighteenth century gentleman. Looking closely you can see he is dark skinned. He appears to be brooding in a desolate Arctic landscape.

Equiano wrote an autobiography published in 1789 that describes his personal experience from being captured by slavers when he was eight, taken to Virginia, London and West Indies, but finally buying his freedom in 1766. He then began collecting and recording whale and polar bear killings. He overturned the cliché of Africa as a place of barbarism, and describes instead his home as “idyllic. with strong leaders, varied foods and festivals, and defined sense of order. This memory is contrasted with vivid descriptions of slave traders as cruel and barbaric; of suffocating sweat, smells and traumas on ships crossing the Atlantic and the humiliations he endured and and witnessed in the slave trade around the world. ” Equiano led the abolition movement in England and his autobiography is said to have contributed to the success in abolishing slavery in England and the British Colonies ( although not the huge financial benefits of the trade).

Projected as three large adjacent images, Vertigo Sea overwhelms us. Sometimes the images flow from one to another, other times they sharply clash. If you have ever seen one of David Attenborough’s BBC nature films, you will recognize some of his incredible footage: the artist gained permission to use it after befriending Attenborough for a full year. But Akomfrah goes the extra step that Attenborough only touches on in his most recent film: climate crises caused by our own actions.

He juxtaposes stunning nature sequences with the murder of humans in the slave trade and the hunting of whales. We watch horrified as the spears enter the animal and the helpless whale bleeds into the sea and dies, even as another screen celebrates their beauty. We gasp in disbelief at the reenactment of slaves forced overboard alive. Akomfrah gives us the unrelenting brutalities of genocide by hunters of animals and people who shared a single minded goal – to make money. Interspersed in the film are many quotes including Moby Dick and Heathcote Williams 1988 poem Whale Nation:

“From space, the planet is blue/ From space the planet is the territory/Not of humans/ but of the whale.”

Occasionally the sequences take a breath with three blank blue screens. But you will not be able to stop watching.

Akomfrah spoke of the flux and fluidity of water as suggesting the past, present and future. Our bodies are 90 percent water. But rather than acknowledge our connection to the sea, the planet, and its occupants, he stated, our hyper consumerism is destroying it.

I heard Akomfrah speak in a conversation with D.J. Spooky at the museum (right before all programming shut down because of the THE VIRUS). He met DJ Spooky while he was making The Angel of History in 1995.

Angel gives us Afro- Futurism:  musicians, writers, poets, actors, journalists, philosophers and techies. Afro-Futuriam, is described by the brilliant writer and musician Greg Tate “It’s like a beautiful compendium of the cats who were obsessed with what I call the “imagineering” of ideas—putting Black folks in a science fiction setting, in the future, or in the retro-future, listening back to ancient African kingdoms as a kind of science fiction fodder.” (Capitol Bop , interview 2015).

Note carefully that reference to African kingdoms, which also connects to cosmology and African mysticism. The musician Sun Ra is a major figure in these connections. He claimed to actually be an alien himself.

Seventeen creative thinkers, ranging from the cosmic musician Sun Ra to Nichelle Nichols, Star Trek actress, spin off Tate’s idea that “all those things that you read about- alien abduction and genetic transformation- they already happened. How much more alien do you think it gets than slavery, than entire mass populations moved and genetically altered, forcibly dematerialized?” (quoted by Kodwo Eshun).  Tate died last fall at the young age of 60.  

One of the compelling speakers was Octavia Butler, the only time she was recorded before her premature death in 2006. She wrote the Parable of the Sower in 1993 which predicts pretty much where we are today.

Another revealing person is Dr. Bernard A. Harris, Jr, the first African American astronaut to walk in space.

The third piece Tropikos 2016 silently and chillingly presents the historical roots of the slave trade in Plymouth, England, the major slave trading port during the reign of Queen Elizabeth.  Here Akomfrah quotes from Paradise Lost, and The Tempest. He segues from images of the royal family and its pirates, decked out in the riches from the slave trade, to a silent raft moving up the river Tamar.

The raft holds one slave with his back to us as well as potatoes, pineapples, bananas, an 18th century metal helmet, and a sculpture of Akuaba associated with childbirth in Ghana.  At the entrance of the exhibition is another Akuaba, from the Dogon people of Mali who holds her hands up in supplication for water.

According to curator Pamela McClusky ” She holds her hands up to implore the blessings of nommo, the master of water, who provides rain when it is needed.  The Dogon have a saying, “people can’t stand and pray all day, but the sculpture can”.  

Right now that seems like a place where we all are, imploring the blessings of the gods, in our case to help us work together to survive this crazy situation that our government brought on us because of their incompetence and stupidity in refusing test kits from the WHO in early February and closing down the CDC area responsible for planning for pandemics.

Hiawatha D, Christopher Shaw at the Northwest African American Museum, King Street again and the Henry Art Gallery

For the winter season here is Betty Shabazz X (Malcolm X’s wife): “We can say ‘Peace on Earth’ We can sing about it, preach about it, or pray about it, but if we have not internalized the mythology to make it happen inside us, then it will not be.”

Betty Shabazz X is included in a dual portrait with Coretta Scott King as one work in the riveting exhibition by Hiawatha D. at the Northwest African American Museum. Iconic Black Women: Ain’t I A Woman? (until March 15) features famous Black women in sports, politics and culture. The exhibition begins with Harriet Tubman and Sojourner Truth and ends with Simone Bile, Olympic Gold Medalist. Paired with each portrait is a powerful quotation by each woman. Uniting all of the women is the idea that they succeeded against incredible odds and if you want to enough you can too.

For example, Simone Bile writes “I would say to always follow your dream. And dream big because my whole career, including any of the things that I’ve accomplished, I never thought in a million years that I would be here. So, it just proves that once you believe in yourself, and you put your mind to something, you can do it.”

The poets, performers politicians, and sports stars are all familiar names: Maya Angelou, Nina Simone, Oprah, Toni Morrison, Coretta Scott King, Betty Shabazz X, Angela Davis, Serena Williams, Lupita, Maxine Waters, Shirley Chisolm, Michelle Obama and her daughters.

Across one wall are the young victims from the Birmingham Church bombings, and across another long wall, the Ain’t I A Woman series of six works on Black women in general as survivors and providers, and truth tellers. Almost all of the paintings focus on posture, gesture and clothes to identify these famous women; only a few of them include feet, hands and facial features.

At first that is disconcerting, but Hiawatha D’s simplified spatial relationships and abstract blocks of color set off the figures so effectively that we see the personality and power of each woman. We know them immediately. The absence of those details strengthens their presence and makes them more universal. The addition of potent quotations enriches our experience.

A second exhibition at the Northwest African American Museum by Christopher Shaw called Algorithm: Archetype is harder to explain, but easy to appreciate.

Here is a quote from the artist “…at the root of the concept for Algorithm: Archetype is an understanding that the way which we participate and propagate culture is based on systems of energy exchange… Archetypes exist in narrative and myth. Often these forms define the parameters of the space where knowledge exists. We have it within our power to shape, reject or recreate or own archetypes. In so doing, we can claim sovereignty over our own lives and cultures. We can rewrite the sequences that code our futures.” You probably need to read that again.

As you can see Christopher is an advanced thinker! He is a mathematician, engineer and clay artist. But when you see his work, you don’t feel overwhelmed by those abstract ideas, but by the beauty of his works. The installation of the minimalist clay and mixed media works is subtle, with several groupings of repeated shapes. Their unexpected relationships lead to meditation.

 

The Arts at King Street Station is once again offering an extravaganza in their beautiful big space. Brighter Future…to be heard, to be seen, to be free, organized through the City Hall collective Ethnic Heritage Art Gallery (until January 11), includes over fifty artists in all media. The show is an opportunity to experience a wide range of artists of color and discover new people. I was familiar with about five of them!! (Naomi is now an excellent Seattle Times columnist and an old friend.) But I was repeatedly excited by the work of a painter or sculptor or ceramist I had never seen before.

Shamim M. Momin, Senior Curator at the Henry Art Gallery filled the entire museum with In Plain Sight, (until April 26). Fourteen rising stars expose often invisible topics, communities, and stories.

I loved Ebony Patterson’s ornamented coffins and stunning large-scale collages created in mourning and celebration of black youth who have been killed.

Exciting in an entirely different way is Oscar Tuazon’s Water School, examining water issues from the perspective of the past, present and future with an emphasis on indigenous rights. Tom Burr’s installations, quietly written in corners, list the names of locations for gay men to meet up that he cut out of Spartacus, an International Gay Guide.

Finally, Nigerian-American artist Jite Agbro’s exhibition Deserving, (until February 26) at the Bainbridge Island Museum of Art features a stunning mixed media print installation. She draws on patterns and indigo colors from Nigerian traditions that are hundreds of years old, and like so much else on the planet under threat in our current world. On January 19 at 3pm Agbro had a conversation about her work at the museum: she spoke of coming to art serendipitously as an immigrant mostly trying to survive. But a young instructor ( now the well known Romson Bustillo) at the Pratt School in the Central District reached out to her as a child and encouraged her. Her path was not easy with no money or privilege to support her, but now she is a big success and receiving commissions.

Paula Stokes 1845 Memento Mori

Paula Stokes’s 1845 Memento Mori at Method Gallery featured a stunning “cairn” of one thousand eight hundred and forty-five hand blown glass potatoes. Each potato was sandblasted making it opaque, and each one was different.

Paula Stokes is a native of Ireland who came here in 1993, but she still feels the draw of her home country.

She created this cairn to honor the millions of people who died in the potato famine in Ireland which began in 1845 and continued for four years. A potato blight, a fungus like organism first appeared in August of 1845, perhaps brought into the country on ships from the US (!). It took out one half of the crop immediately, and continued to infest crops for the next seven years, killing three quarters of the potatoes. As it wiped out crops, people became starved. Millions died.

All of the Irish farmers were tenant farmers on land owned by British gentry. Those landowners had introduced the potato only one hundred years earlier as a monocrop. But shockingly, even at the height of the famine, landowners ordered food exported to the United Kingdom.

In Ireland the failure of the crops led to immense numbers of deaths. Survivors, unable to have a crop to sell, were evicted from their homes, sent to orphanages and workhouses, and massive public food kitchens. Workhouses provided a temporary solution, but funds ran out quickly. The response from the British government was entirely inadequate, leading to more suffering.

Widespread death and desperation led to huge migration to the United States, as well as other parts of the world. Orphaned girls were shipped to Australia. In the first four years one million people emigrated. By 1901 six million had emigrated.

The immigrants to the United States faced prejudice and racism, just as immigrants do today. Nativists attacked them. But in the long run they, like all immigrants here, have become part of our country and made many invaluable contributions.

Paula Stokes’ installation both honors the nightmare of the famine in Ireland, and creates an homage to the idea of community and caring. The creation of the piece required a team of assistants. The act of blowing into the glass suggests a life giving force. The installation becomes, as one writer in the catalog suggests, an echo of the landscape filled with ancient ruins from which the artist has come.

The installation is both beautiful and fragile. As we touched a glass potato and immersed ourselves in the installation, it is possible to think about both the deaths of those who relied on agriculture, and the lives of those who survived.

The ownership of the land by the ruling classes in England led directly to destitution for the farmers who were their tenants, when the crops failed. Today migration has similar underlying causes in the exploitation of the poor by the wealthy. Now the wealthy are corporations destroying indigenous lands to build dams and extract oil in Central America. In Africa, droughts, war, greed and poverty lead to migration.

As people today are driven from their homes by famine and violence, both caused or aggravated by the climate crises, it is crucial to remember the underlying economic forces of the disastrous famine that drove Irish migration of the late nineteenth century.

But unlike the nineteenth century, when the millions of Irish could enter the US or Europe easily, the immigrants today who do not die or drown are almost entirely delayed, detained, and locked up. Traditional procedures for entry are rapidly being dismantled by racist governments.

Thank you Paula Stokes for your meaningful work. We need more “Memento Mori” for our current world wide crisis.

Donald Byrd Choreographer

“Dance as Provocation”

Part I “Donald Byrd: The America That Is To Be” at the Frye Art Museum, October 12 – January 26.
Susan Noyes Platt www.artandpolitics.com

Donald Byrd transforms movement into resonant art. The world-renowned choreographer Donald Bryd has been based here in Seattle since 2002. In March 2016, I wrote here about his humble base in the Madrona Bath house.

A groundbreaking retrospective of Donald Byrd’s career, curated by Thomas F. DeFrantz, Professor of Dance, Duke University, successfully overcomes the challenge of exhibiting dance in a venue designed for visual art. Videos from the 1970s to the present (from tiny to huge), as well as photographs from throughout Bryd’s astonishing career,  mesmerize us as we witness his extraordinary creativity. In addition, on a low stage inside the gallery we can enjoy intimate performances by the Spectrum Dancers on Tuesday and Wednesday at noon and Saturday and Sunday at 3PM.

Donald Byrd has been radical from his first performances in Los Angeles as early as 1978, when he challenged racism, gender, and bourgeois sensibilities with a classical pas de deux that paired a “disaffected” black man and “blasé cigarette smoking” white woman.  His choreography has deep classical roots, but he has consistently expanded the ways that he can confront us with deep social issues through music, movement, gesture, and settings. He deeply believes that dance can trigger social transformation.

His main inspirations are the giants of twentieth century dance George Balanchine, Merce Cunningham and Alvin Ailey, but he also explores popular traditions ranging from punk and funk to Irish jigs. His encyclopedic vocabulary of movement (as well as music) becomes his own as he embodies challenging social issues.

Earlier in his career he aimed to shock: we see him in beauty pageant drag, singing an exaggerated “God Bless America” in American Dream, 1995 in a performance that includes “a phantasmagoric patchwork of terror and display.” You will have to see it to know what this means!

In addition to confronting bourgeois race and gender clichés, Bryd rewrote classics. In his Harlem Nutcracker, 1997, Clara now an African American matriarch, welcomes her well-to-do family for Kwanzaa and Christmas in Harlem. The choreography parodies traditional ballet while it also celebrates African American dance traditions.  Another even bolder retelling is The Minstrel Show, Revisited, 2016: it confronts us with the ongoing existence of the racist blackface.

At the center of the exhibition at the Frye is a gallery with four large walls filled with A CRUEL NEW WORLD/the new normal, 2013. Performed in the orange jump suits worn by prisoners and detainees, and inside a hurricane fence, with an American Flag falling on the ground, it explores, through extreme movements, the anguish of being trapped with no way out.

Also included are excerpts from the WOKENESS festival last fall that featured intense performances by his extraordinary dancers on lynching and the killing of African American men.

Finally don’t miss Donald Byrd performing Sweltering Son only two years ago!