Seattle, WA. Museum director Sylvia Wolf says the Henry Art Gallery still has a lot to offer during the COVID-19 pandemic. The museum on the University of Washington campus has shifted many of its offerings to a virtual format through #HenryAtHome. Sylvia Wolf, says #HenryAtHome is a “suite of digital offerings to stay connected to contemporary art and ideas.”
Sadie Barnettes 2019 “Room To Live” is a mixed media installation with holographic vinyl sofa, metal flake TV, archival inkjet prints, and metal flake security cameras. Photo credit, Mark Woods.
Through Instagram, Facebook, and Twitter, the Henry is giving the public “insights into artwork, interviews with artists, stories about objects in [the Henry’s] collection, and ways to make art at home.” The Henry’s website features a variety of online presentations, including works from its collection and in-depth information on its exhibitions. The Henry Art Gallery has moved ArtVentures, a free art-making workshop for intergenerational groups, online. The Henry’s In Plain Sight film series, created in collaboration with Northwest Film Forum, has found a new home online as well. Watch the video below to hear more about artist Oscar Tuazon’s contributions to the Henry’s In Plain Sight exhibition.
The Henry Art Gallery closed its doors on March 10th when COVID-19 cases began increasing in Seattle. Since the organization’s closure, the Henry’s staff has been working remotely, except for essential personnel working onsite to ensure the safety of the Henry’s building and the art within it. Wolf says that moving to remote work was “a fast pivot,” but “one that staff responded to with grace, flexibility, and inventiveness.”
Wolf, whose title includes a nod to donor John S. Behnke, says that the online programming featured in #HenryAtHome has “generated an extraordinary amount of interest from people around the world.” Specifically, the Henry’s Re/frame program has transitioned to an online format and drawn in global attention. Re/frame is a recurring program in which items from the Henry’s collection are brought under one theme and presented to the public to view. According to Wolf, the widespread interaction that Re/frame sparked has “encouraged broader conversations and deepened engagement with the works and how they relate to today’s times.” In response to this feedback, Wolf says that the Henry’s staff hopes “to offer this and other programs onsite and digitally as [they] go forward.”
Beatriz Cortez’ work for the exhibition, In Plain Sight. Photo by Mark Woods.
In response to the Black Lives Matter movement transpiring throughout America, Wolf says that the Henry Art Gallery “stand[s] in solidarity with Black and brown artists, colleagues, and community members.” Moving forward, Wolf says the Henry will “deepen [its] commitment to confronting overt and systemic racism.” The Henry will also “actively support the shifting of power from those who have benefited from structures of racism to those that have been oppressed by the cultural climate and practices within the art world, and by institutional racism in general.”
william cordova’s work for the exhibition In Plain Sight. Photo by Johnathan Vanderweit.
Within the Henry Art Gallery, Wolf says that staff is “taking time to listen and reflect on what [they] can do to become a more anti-racist organization.” This means looking closely at how systemic racism plays out within their organization, taking steps to create structural and systemic change, and diversifying staff, management, and board governance to represent the greater-Seattle region. The Henry Art Gallery will also continue “diversify[ing] programming to amplify the voices and views of many, and to celebrate art in a broad variety of forms.” To learn more about the Henry Art Gallery’s commitment to racial equity, people may read its full Pledge to Racial Justice here.
Hayv Kahraman’s work for the exhibition, In Plain Sight. Photo by Mark Woods.
Wolf recognizes that “art has the power to incite, challenge, heal, and to imagine new possibilities.” Thus, Wolf shares that the Henry is “encouraged by the response to [its] programming” and that the organization “look[s] forward to continuing a multitude of offerings.”
From the Henry Art Gallery:
To support the Henry Art Gallery, people are welcome to follow the organization on Instagram, Facebook, and Twitter, subscribe to its YouTube channel and sign up for its e-newsletter to hear updates on the Henry’s latest content and programming. People may also support Henry’s efforts to build future programs and partnerships by becoming a member, which helps the Henry make free art content for the public.
The Henry is internationally recognized for bold and challenging exhibitions, for pushing the boundaries of contemporary art and culture, and for being the first to premiere new works by established and emerging artists. Through individual experiences with art, we inspire visitors to upend their expectations and discover surprising connections.
Kirkland, WA. Kirkland Performance Center has launched KPC At Home: Livestreams, a series of ongoing performances from local artists streamed free for the public. KPC will stream weekly performances from 30+ local artists through the rest of the year and going into 2021. All of these streams are free to the public and can be viewed on KPC’s Facebook, YouTube, and Twitch. More information on KPC At Home: Livestreams is available on KPC’s website.
Kirkland Performance Center’s marquee prior to COVID-19
Kirkland Performance Center has operated since 1998 and each year over 85,000 people attend shows and events at its theater. Being a 400-seat theater, KPC typically books about 250 shows of wide variety each year, including comedy shows, musical performances, graduations, and diverse cultural expressions from all around the world. Executive Director Jeff Lockhart says that KPC’s mission is to be a “gathering space for people to come together as a community connected by culture.” KPC aims to be more than just a site for entertainers, but a place for connectors who seek to bring people together through creative expression.
Eastside Community Musical’s production of Mamma Mia! at KPC before the COVID-19 pandemic
When the COVID-19 pandemic hit the U.S., Kirkland was one of the first cities in America to suffer a significant outbreak. Thus, Lockhart shares that Kirkland Performance Center shut down in early March and “completely put the brakes on everything” as “safety is paramount” to the organization. Nearly half of KPC’s Curated Presenter season was canceled and the organization put a pause on its plans before deciding how to move forward. Ultimately, Lockhart and the rest of the KPC team realized that “just because the stage is postponed, doesn’t mean [KPC’s] mission is postponed.”
KPC rebranded as “KPC At Home” and launched several ongoing programs to connect with the Kirkland community virtually. These include “Throwback Thursdays,” in which KPC shares videos of past performances and “Staff Picks,” in which KPC staff members create music playlists for the public to listen to on the organization’s Spotify channel.
However, KPC’s livestreams have gained the most traction in the last few weeks. KPC has collaborated with various artists, including Stephanie Ann Johnson, Erin Rae & The Heartbeets, and Geoffrey Castle, to stream performances from artists’ homes and the KPC theater. Many of these streams receive upwards of 1,000 views. Future livestreams will include artists such as Drew Martin, DownNorth, Lucien LaMotte, and many more. In August, KPC will partner with artist Alec Shaw and chefs and wine tasters from The Heathman Hotel in Kirkland. Chefs and wine tasters from The Heathman will pair food and wine with each of Shaw’s songs. The public can order paired food and wine and enjoy a culinary experience paired with music in their homes.
Geoffrey Castle performing at Kirkland Performance Center
Lockhart hopes that Kirkland Performance Center’s new offerings allow the organization to dive into “a whole new line of expression.” In addition to livestreams, KPC is looking into launching a lecture and book series program and music lessons for children in the fall. KPC recognizes that streaming is a great platform for up and coming artists and the organization wishes to utilize it to share more art with the community and connect people through culture. Moving forward, Lockhart and the rest of the KPC team wish to “be there for the community” and use art as a way to “hope, inspire, and help people be better people” throughout the COVID-19 pandemic.
From Kirkland Performance Center:
People may view KPC’s livestream performances on Facebook, YouTube, and Twitch, as well as access them through KPC’s website. People may also donate to KPC through their website, by contributing one-time or recurring gifts. Lockhart shares that even a recurring gift of $5.00 a month “goes a long way” and is “profoundly appreciated” as the organization is “living on donations” at the moment.
KPC provides a gathering place where people come together to express themselves creatively, exchange ideas, share culture, and connect with one another.
Seattle, WA. Seattle Arts and Lectures is launching its new season of literary events and providing online access to the public. Throughout next season, Seattle Arts and Lectures have 20 events booked, and all will go on whether they take place in-person or online. There are several subscription options available to the public to view these events. People may choose the “Create Your Own Series” option and choose four literary events to view. Or people may select the “Super SAL” option which provides access to 15 events of their choosing. Either subscription option will provide digital access to all events selected. More information about pricing and event options are available on SAL’s website.
Check out this video revealing SAL’s 2020-21 season of literary events:
Seattle Arts and Lectures is a literary arts organization that has presented the public with talks from various writers, poets, and scholars in large lecture and classroom settings for over 30 years. Associate Director Rebecca Hoogs says that when the COVID-19 pandemic hit Seattle, SAL “quickly shifted events and teachings online.” Authors who were booked to speak in the spring recorded their talks and readings from their homes and SAL packaged and produced them for people to view online. Despite the change in formatting, Hoogs says that many viewers “appreciated the intimacy of the events” as it “felt like they were sitting and talking with the authors.” Hoogs shares that the “direct connection” viewers felt with authors was a “silver lining” for audiences despite the change in event formatting.
Moving forward, even if events happen in person next year, Seattle Arts and Lectures will still offer livestreams for people who feel more comfortable viewing talks online. Hoogs suggests that it will likely take time for people to feel comfortable sitting in large lectures again, so providing livestreams will allow SAL the opportunity to expand its audience and provide widespread access to its talks.
Photo from a pre-pandemic literary event from Seattle Arts and Lectures at Benaroya Hall
In addition to its upcoming literary events, Seattle Arts and Lectures has announced its 2020-21 Seattle Youth Poet Laureate: Bitaniya Giday, a first-generation Ethiopian American poet who explores the “nuances of womanhood and blackness” through her work. The Seattle Youth Poet Laureate Program annually selects a young writer dedicated to poetry, social justice, and community engagement. Laureates gain various opportunities to share their voices, work among a cohort of poets in workshops, and even publish their work with Poetry Northwest Editions.
SAL’S 2020-21 Youth Poet Laureate Bitaniya Giday
Watch Giday read her work “Hyphenated Identity Crisis” here:
Seattle Arts and Lectures also connects with young people through its Writers in the Schools program. Through WITS, SAL connects professional writers and public-school students around the Puget Sound region. According to SAL’s website, WITS teaches students how to develop “authentic writing and performance voices” and “become authors of their lives.” Currently, SAL is working with teachers in the WITS program to plan how they will adapt their programming for the fall. Hoogs projects that the program will be conducted “either entirely or partially digitally.” Hoogs shares that due to the uncertainties underlying the global pandemic, it is especially “important to provide teachers and students with art right now” as a source of expression and storytelling.
WITS writer and YPL mentor Arianne True at a free online reading with SAL from July 10
Through its online lectures and various youth programs, Hoogs shares that Seattle Arts and Lectures will continue to “inspire people to read and think and be connected to writing and writers.”
From Seattle Arts and Lectures:
To support Seattle Arts and Lectures people can subscribe to different event packages, as well as purchase tickets to individual events. SAL emphasizes that there will be a digital component available for everyone, as well as flexibility for those who need to change their tickets or need refunds. Donations are always accepted, especially for SAL’s Writers in the Schools program.
Seattle Arts & Lectures champions the literary arts by engaging and inspiring readers and writers of all generations in the greater Puget Sound region.
Seattle, WA. Seattle Dance Collective’s new project Continuum: Bridging the Distance will broadcast digitally to the public for five weeks. Continuum includes five works of art performed by Seattle Dance Collective members, filmed by Seattle-based filmmaker Henry Wurtz. New work will premiere each week beginning July 2 until July 30. Each work will be accompanied by a behind-the-scenes video citing the challenges and discoveries artists uncovered while creating art during a pandemic. Continuum: Bridging the Distance can be viewed on SDC’s website and Facebook page. Seattle Dance Collective will also provide online classes throughout the series, taught by artists involved in each week’s newly released work. There will be classes for dancers of varying skill levels, and all are free to the public.
Elle Macy and Dylan Ward in Home by Penny Saunders. Photo by Henry Wurtz
Since COVID-19 hit Seattle, co-founder and artistic director of Seattle Dance Collective Noelani Pantastico says “it was clear that [SDC] had to cancel [its] summer program” and re-imagine how to create art “under the constraints of social distancing.” Due to the absence of live audiences, Seattle Dance Collective “had to think very differently about how to bring artists together” and “engage audiences in a brand-new way.” Ultimately, Seattle Dance Collective “shifted [its] artist workshops online” and collaborated with colleagues to conceive Continuum: Bridging the Distance. Pantastico shares that “capturing SDC’s work on film and sharing it online has added an exciting element to [its] offerings.”
Founding Artistic Directors Noelani Pantastico and James Yoichi Moore. Photo by Lindsay Thomas
Pantastico and fellow SDC co-founder and artistic director James Yoichi Moore have been pushed to “learn new sets of skills.” Specifically, giving artistic feedback while reviewing and editing dance footage is a “new territory” for the artistic directors. Pantastico says that “responding to filmed product” differs greatly from the typical rehearsal process of communicating with dancers in real-time. Additionally, the artistic directors must give opinions on additional factors of the work aside from the dancers’ performances, including light, opacity, music, and film editing to ensure the “dance and dancers shine more.”
Amanda Morgan in Musings by Amanda Morgan. Photo by Henry Wurtz
Moore shares that Seattle Dance Collective’s “artists have also been stretched during this unconventional process,” as “creating dance for film is different in many ways from the traditional theater production.” Moore states that “dance is an art form that demands physicality and close contact,” so Seattle Dance Collective’s “choreographers had to completely adjust their method and figure out how to successfully develop and rehearse a new piece remotely via video call, rather than in the studio.” There are also added elements choreographers must consider in their creation process, including “taking advantage of close-ups and multiple camera angles.”
Lucien Postlewaite in A Headlamp or Two by Beth Tellwilleger. Photo by Henry Wurtz.
Dancers also had to adapt to rehearsing in the confines of their home and many of them had to rehearse in separate spaces, away from one another. Moore states that “in some cases, dancers were only able to experience the full breadth of movement when on location for the first time, before filming.” SDC’s filmmaker also learned to work in an “entirely new way” as he needed to “conceptualize camera work with very limited on-location rehearsal time.”
Leah Terada and Myles Pertl in The Only Thing You See Now by SeaPertls
Moore says that Seattle Dance Collective has always believed that “dance is a vital form of storytelling and emotional expression.” For this reason, “being able to offer artists the opportunity to continue practicing their art… when most artists have suddenly found themselves unemployed, is not only extremely rewarding” for SDC, but “crucial for the continued development of the arts.” Moore says that “people need art more than ever, and it is [Seattle Dance Collective’s] responsibility to put it out there”
From Seattle Dance Collective:
To support Seattle Dance Collective, people are encouraged to visit the organization’s website to “watch new films, register for classes, and share broadly.” Seattle Dance Collective relies on the generosity of supporters to “continue creating meaningful art” so any donation is “appreciated and essential to [SDC’s] future.”
Seattle Dance Collective is dedicated to nurturing collaboration between dancers and choreographers and introducing audiences to transformative programs of artistic excellence. SDC was founded in 2019 by Noelani Pantastico and James Yoichi Moore and made its debut that summer with four sold-out performances at Vashon Center for the Arts.
Seattle, WA. Urban ArtWorks is continuing its mural apprentice program and public art projects while abiding by social distancing protocol. This summer, Urban ArtWorks will partner with South Park Arts, Seattle Neighborhood Group, and local young artists to create a mural on Ambakity restaurant in the South Park neighborhood of Seattle. Urban ArtWorks is also collaboratively creating public art that celebrates Black lives throughout the city.
Youth apprentices meet with their teaching artists, Dovey Martinez and Felipe Perez, in the South Park mural program. Photo was taken by Dennis Diaz.
Executive director Amanda Hashagen says that Urban ArtWorks’ “longest-running program is the mural apprentice program.” The mural apprentice program is an eight-week program in which young artists learn basic art skills and work on one large mural or public art project either during the school year or summer. Following the mural apprentice program, youths can advance into a long-term six-month apprenticeship, in which aspiring artists can connect with a mentor who will assist them in building portfolios. People can get more information on how to become an apprentice or program volunteer on Urban ArtWorks’ website.
This summer, the mural apprentice program will primarily operate online. Apprentices will receive basic art lessons virtually and be given assignments to work on offline as well. A summer project that youth apprentices are currently working on is a mural for Ambakity restaurant in the South Park neighborhood of Seattle. During this project, young artists collaboratively plan and design the mural virtually and at a social distance. After the planning process is complete, half of the artists will meet to paint one day, and the other half will meet another day to follow social distancing guidelines. Another project apprentices will have the opportunity to work on is designing and painting a utility box in Seattle. Urban ArtWorks will provide participants with paints, brushes, supplies, and snacks to ensure that the artists can create their work to the best of their abilities.
An artist works on Urban ArtWorks’ mural on the Metropole building in Pioneer Square.
Urban ArtWorks’ goal as an organization extends past beautifying Seattle. Through their numerous programs, Urban ArtWorks strives to work with young people with barriers to employment and provide them with basic job training and professional life skills. Hashagen wishes to empower local youth at Urban ArtWorks by teaching them to “trust that their perspectives are valid to share with the community.”
Hashagen shares that quarantining has given Urban ArtWorks’ staff increased time to reflect on how to improve their organization. She shares that the Black Lives Matter protests in Seattle have especially “amplified what their priorities should be.” Specifically, Urban ArtWorks is working to make its team and programs racially equitable. Hashagen claims that Urban ArtWorks is a predominantly white-led organization, and board members are “actively trying to change that.”
Urban ArtWorks is also connecting with its community by creating public art related to the Black Lives Matter movement. In mid-June, Urban ArtWorks worked on a large mural on the Metropole building in Pioneer Square to commemorate Juneteenth, the celebration of the official end of slavery in 1865. Artists and neighbors in the public were invited to contribute to the mural while social distancing. Over twenty individuals stopped to add their own touches to the painting and “transform the heavily graffitied wall into a rotating gallery.”
Urban ArtWorks’ collaborative mural on the Metropole building in Pioneer Square.
Urban ArtWorks also partnered with the Downtown Seattle Association to create art amid the aftermath of the Black Lives Matter Protests that transpired following the murder of George Floyd in Minneapolis. Urban ArtWorks secured highly visible locations in the Westlake area for BIPOC artists to create murals. Ten murals were painted on the boarded-up windows of the Nordstrom building on 6th and Pine street. Hashagen shares that “Black lives are more important than any damage done to a building or object, and [Urban ArtWorks] didn’t want that message to get lost in the ‘repairs’ [artists] made with any murals created.” Pictured below are some of these murals.
Mural by artist @Dozfy on Instagram and photographed by Paul Nunn
Mural by @ccstencil on Instagram and photographed by Paul Nunn
Mural by @wolfdelux on Instagram and photographed by Paul Nunn
Above all, Urban ArtWorks wishes to continue “engaging youth and communities in the creation of public art that inspires connections and honors their voices.” Hashagen encourages the public to “open their eyes and see what beauty and transformation young people can bring to our community” and “give them the respect they deserve.” Through its community outreach and displays of public art, Urban ArtWorks strives to show Seattle that “young people are brilliant and beautiful.”
From Urban ArtWorks:
To support Urban ArtWorks, financial and supply donations are always welcome. The organization also looks for volunteers and people to assist with photography and administrative work. People can also follow Urban ArtWorks on Instagram @urbanartworks.
Urban ArtWorks was developed in 1995 as a result of the SODO Business Association’s desire to clean up trash and graffiti along the busway in Seattle’s industrial zone. A plan was developed to enrich the surroundings and discourage graffiti by creating murals throughout the area now known as the SODO Urban Art Corridor. The collaboration of private and public partners facilitated the creation of an arts program for at-risk youth centered on the development of murals. Urban ArtWorks incorporated as a non-profit organization in 1998, and the scope of our work has expanded far beyond SODO and the corridor. Today, our organization works full time to promote the arts and produce new public artworks across the entirety of Seattle. Our youth programming continues to empower young people through professional opportunities in the arts. Our mission is to create public art that empowers young people and transforms communities
NONPROFIT BENEFIT TICKET GIVEAWAYS!
Sign up for our free weekly highlights for the chance to win two tickets terrific nonprofit events! If you “like” us on facebook, or sign up for our weekly news highlights, you’ll be entered to win! Sign up today!
Look for another ticket giveaway soon! Are you a nonprofit looking to bolster your publicity with facebook and tweets? Email us and we’ll run a contest with tickets to your event! [email protected]
