Plan/Overview of Inquiry Paper
So far this semester, working with your team, you have researched a local arts organization, compiled a guidebook, and prepared a group experience (field trip, film, or panel discussion) to introduce the rest of the class to your organization. It is safe to say that, at this point in time, you know quite a bit about the organization.
Now that you have explored a wide variety of sources (web, print, interviews, and site-visits), contemplated the implications, developed a preliminary question, done some further research, and done some exploratory writing, you are ready to plan your inquiry paper.
First: “What kind of paper are you writing?” Your inquiry paper will be a presentation of your own thinking supported by evidence from your research. Your paper may be ANALYTICAL (using evidence to analyze various facets of an issue) or PERSUASIVE (using evidence to attempt to convince the reader of your particular stance on a debatable topic). This choice will affect your strategy as you move forward with the paper.
Analytical Paper
Begin by writing a question that simply and clearly defines the issue you are exploring. (e.g., “What impact does Seattle Children’s Theatre have on the development of local theatergoing audiences?”) The paper will then go on to analyze and explore the range of answers to the question, and you will contribute to the discussion by drawing your own conclusions based on the evidence.
Persuasive Paper
Begin by writing a declarative sentence that states your point directly and clearly. (e.g., “Seattle Children’s Theatre contributes to the long-term health of the local arts community by introducing young people to theatergoing and nurturing a lifelong love of the art form.”) The paper will then go on to argue your point, presenting supporting evidence and refuting opposing views.
Second: Apply the “So what? Who cares?” test. In order for your inquiry paper to be worth writing and reading, the topic needs to be worth analyzing or arguing about. Re-read your analytical question or persuasive point and ask yourself, “Why does this matter? What’s new, meaningful, or interesting about what I have to say?” Once you’re satisfied with the answer, you’re ready to move on. (If not, you may need to revise your analytical question or persuasive point.)
Third: Map it out. You have a starting point: your analytical question or persuasive point. You have a destination: a thoughtful conclusion. How are you going to get from one to the other? You need to create a map: the plan or overview of your paper.
Working in broad strokes, make a map of the journey on which you plan to take your reader. Draw pictures, place blocks, or use Post-Its to construct each of the stops along the way. Each “stop” represents a specific argument, observation, or point that you have to make.
Look through your research. What evidence do you have to support each of your ideas? Mark specific references that you would like to quote, and note any points for which you need more support.
Consider the sequence of your “stops.” Do your points flow logically from one to the next? If you are writing a persuasive paper, do your arguments build, becoming more and more persuasive with each point that you make? Move the “stops” around until you find a satisfying sequence.
Finally: Write a plan or overview for your paper, briefly noting:
o your analytical question or persuasive point
o your answers or arguments
o your conclusions
Save a copy of the plan/overview on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Plan/Overview.”)
Wednesday, March 28, 2007
Tuesday, March 27, 2007
Opera . . . featuring our own Katya Kalfov!
Dido & Aeneas
Presented by the Cornish Music Series
Date: Thursday, March 29, 2007 8:00 PM
PONCHO Concert Hall
Cornish College Capitol Hill Campus, 710 East Roy Street
Seattle WA 98102
March 29 - 31 at 8pm
Cornish Music Series in collaboration with the Cornish Performance Production Department presents Dido and Aeneas, an opera by the English Baroque composer Henry Purcell. The opera tells the story of Dido, the legendary Queen of Carthage, and Aeneas, the Trojan refugee, who fall in love when Aeneas and his crew become shipwrecked in Carthage. Stage direction and choreography is provided by Cornish Dance Professor Gérard Théorêt and musical direction is provided by Cornish Associate Music Professor Natalie Lerch. Cornish students Vanessa Ament and Sage Price play the role of Dido and Aeneas.
$15 general; $7.50 students, alumni and seniors
Tickets can be purchased through Ticket Window at 206.325.6500, www.ticketwindowonline.com, or in person at one of the three Ticket Window box offices (Broadway Market, Pike Place Market, and Bellevue’s Meydenbauer Center).
For more information please contact 206.726.5011 or email events@cornish.edu
Presented by the Cornish Music Series
Date: Thursday, March 29, 2007 8:00 PM
PONCHO Concert Hall
Cornish College Capitol Hill Campus, 710 East Roy Street
Seattle WA 98102
March 29 - 31 at 8pm
Cornish Music Series in collaboration with the Cornish Performance Production Department presents Dido and Aeneas, an opera by the English Baroque composer Henry Purcell. The opera tells the story of Dido, the legendary Queen of Carthage, and Aeneas, the Trojan refugee, who fall in love when Aeneas and his crew become shipwrecked in Carthage. Stage direction and choreography is provided by Cornish Dance Professor Gérard Théorêt and musical direction is provided by Cornish Associate Music Professor Natalie Lerch. Cornish students Vanessa Ament and Sage Price play the role of Dido and Aeneas.
$15 general; $7.50 students, alumni and seniors
Tickets can be purchased through Ticket Window at 206.325.6500, www.ticketwindowonline.com, or in person at one of the three Ticket Window box offices (Broadway Market, Pike Place Market, and Bellevue’s Meydenbauer Center).
For more information please contact 206.726.5011 or email events@cornish.edu
"GONNALETITGETCHA . . . AGAIN?"
Anti-Procrastination Discussion 12:10 to 12:50 this Thursday, March 29, in the Counseling Office (MCC308).
* For students only. Bring your lunch!
For more information call Barry Eben at 726-5047
* For students only. Bring your lunch!
For more information call Barry Eben at 726-5047
Monday, March 26, 2007
Homework for Wednesday, March 28
Response Paper #3
1. Read “Shitty First Drafts” by Anne Lamott in your course reader, pp. 103-106.
2. Read actively: Mark passages that strike you. Note words, ideas, or images that resonate for you. Consider how Lamott’s idea of the “shitty first draft” could be useful to you in writing your inquiry paper for this class.
3. Jot down notes in response to the following questions:
o According to Lamott, what is “the fantasy of the uninitiated”?
o What does Lamott mean when she says that she needs to “quiet the voices in [her] head”?
4. Take a few moments to get ready to write by quieting the voices in your head. Then, freewrite for 15 minutes, laying out in broad strokes the points that you want to cover in your inquiry paper. Work fast and don’t stop to edit. Share what you know, what you think, and what you need to find out more about. Tell yourself that it doesn’t have to be great—it can even be, in Anne Lamott’s words, “shitty.”
5. Save your freewrite and do something else for awhile.
6. Read your freewrite. Note what is good in it. Note vivid, specific, concrete references. Note persuasive arguments. Mark phrases and sentences that are worth saving. Make a list of the questions it raises for follow-up research. Save these notes.
7. Using elements that you selected from your freewrite as the foundation, write two paragraphs of your inquiry paper. (You don’t have to know yet where these two paragraphs will fit into your paper. They can be for the beginning, the end, somewhere in the middle, or somewhere that you don’t even know yet.)
8. Save a copy of these two paragraphs on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Response Paper #3.”)
1. Read “Shitty First Drafts” by Anne Lamott in your course reader, pp. 103-106.
2. Read actively: Mark passages that strike you. Note words, ideas, or images that resonate for you. Consider how Lamott’s idea of the “shitty first draft” could be useful to you in writing your inquiry paper for this class.
3. Jot down notes in response to the following questions:
o According to Lamott, what is “the fantasy of the uninitiated”?
o What does Lamott mean when she says that she needs to “quiet the voices in [her] head”?
4. Take a few moments to get ready to write by quieting the voices in your head. Then, freewrite for 15 minutes, laying out in broad strokes the points that you want to cover in your inquiry paper. Work fast and don’t stop to edit. Share what you know, what you think, and what you need to find out more about. Tell yourself that it doesn’t have to be great—it can even be, in Anne Lamott’s words, “shitty.”
5. Save your freewrite and do something else for awhile.
6. Read your freewrite. Note what is good in it. Note vivid, specific, concrete references. Note persuasive arguments. Mark phrases and sentences that are worth saving. Make a list of the questions it raises for follow-up research. Save these notes.
7. Using elements that you selected from your freewrite as the foundation, write two paragraphs of your inquiry paper. (You don’t have to know yet where these two paragraphs will fit into your paper. They can be for the beginning, the end, somewhere in the middle, or somewhere that you don’t even know yet.)
8. Save a copy of these two paragraphs on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Response Paper #3.”)
Saturday, March 24, 2007
Hugo House
If I could get involved with anything at the Hugo House, it would be ZAPP. I fully intend to do volunteer work, once things slow down a bit... it's so hard to do in college. But listening to Kate talk about it made me even more excited -- both about my paper and about possibly volunteering. I also really want to have a theatre intership there! How totally awesome thatwould be ::Hannah floats off to fantesy land:::
As far as how the field trip went, it could have been much better. I think I was under prepared and I apologize to my team and the whole class. I love that Kate talked to us for so long, and that we got to see ZAPP even though it wasn't open (I wish we could have spent longer down there, but that's just me :)
Something I think would really help the field trips would be participation. Maybe as you are reading the guide books, jot down one or two questions you have about the organazation and then ask them on the field trip.
And then there was the almost transportation disaster... but it wasn't too bad, so that's good.
Okay all, we were the guinea pigs... it's your turn
As far as how the field trip went, it could have been much better. I think I was under prepared and I apologize to my team and the whole class. I love that Kate talked to us for so long, and that we got to see ZAPP even though it wasn't open (I wish we could have spent longer down there, but that's just me :)
Something I think would really help the field trips would be participation. Maybe as you are reading the guide books, jot down one or two questions you have about the organazation and then ask them on the field trip.
And then there was the almost transportation disaster... but it wasn't too bad, so that's good.
Okay all, we were the guinea pigs... it's your turn
Thursday, March 22, 2007
Homework for Monday, March 26
Response Paper #2
1. Read “Living in the Medium” by J.G. Bennett, pp. 74-79 in Creators on Creating.
2. Read actively: Mark passages that strike you. Note words, ideas, or images that resonate for you. Consider how Bennett’s idea of “living in the medium” applies to your inquiry paper for this class.
3. Jot down notes in response to the following questions:
o According to Bennett, what is the difference between memorizing information about a subject and “grounding oneself in the subject”?
o How does Bennett suggest that a person can create the conditions necessary for a flash of insight?
4. Write a short paper (1½-2 pages) describing the “ground” you are preparing for your inquiry paper. What do you know about your subject, and what do you intend to do with the knowledge? Why is it important to you?
5. Save a copy of the paper on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Response Paper #2.”)
1. Read “Living in the Medium” by J.G. Bennett, pp. 74-79 in Creators on Creating.
2. Read actively: Mark passages that strike you. Note words, ideas, or images that resonate for you. Consider how Bennett’s idea of “living in the medium” applies to your inquiry paper for this class.
3. Jot down notes in response to the following questions:
o According to Bennett, what is the difference between memorizing information about a subject and “grounding oneself in the subject”?
o How does Bennett suggest that a person can create the conditions necessary for a flash of insight?
4. Write a short paper (1½-2 pages) describing the “ground” you are preparing for your inquiry paper. What do you know about your subject, and what do you intend to do with the knowledge? Why is it important to you?
5. Save a copy of the paper on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Response Paper #2.”)
Homework for Friday, March 23
Before the field trip, please read the "Richard Hugo House Guidebook" that was placed in your Cornish mailbox.
The Hot Sheet (revisited)
Your hot sheet will contain three sections:
- A brief description of your project.
- A list of key words and phrases (terms, features, images, ideas) associated with your subject.
- A collection of “what,” “how,” and “why” questions about your subject.
1. Write your name and the date at the top of your sheet.
2. Title your project. (Keep in mind that the title of your paper may change as you work.)
3. Describe your project in 50-75 words. (What are you exploring? How will you approach the inquiry? What’s involved in the work? What do you hope you or others will “get” from your paper?)
4. Brainstorm a list of key words or short phrases that relate to your project. Aim for 15-20 words or phrases.
5. Make a list of “what,” “how,” and “why” questions about your subject. (Or, translate your project into “what,” “how,” and “why” questions.) Aim for 10 questions.
6. Save a copy of the hot sheet on your computer, and print a copy to bring to class. (Your hot sheet should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Hot Sheet.”)
The Hot Sheet (revisited)
Your hot sheet will contain three sections:
- A brief description of your project.
- A list of key words and phrases (terms, features, images, ideas) associated with your subject.
- A collection of “what,” “how,” and “why” questions about your subject.
1. Write your name and the date at the top of your sheet.
2. Title your project. (Keep in mind that the title of your paper may change as you work.)
3. Describe your project in 50-75 words. (What are you exploring? How will you approach the inquiry? What’s involved in the work? What do you hope you or others will “get” from your paper?)
4. Brainstorm a list of key words or short phrases that relate to your project. Aim for 15-20 words or phrases.
5. Make a list of “what,” “how,” and “why” questions about your subject. (Or, translate your project into “what,” “how,” and “why” questions.) Aim for 10 questions.
6. Save a copy of the hot sheet on your computer, and print a copy to bring to class. (Your hot sheet should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Hot Sheet.”)
Tuesday, March 20, 2007
Homework for Wednesday, March 21
Response Paper #1
Read “Short Assignments” from Bird by Bird: Some Instructions on Writing and Life by Anne Lamott in your Course Reader: pp. 101-102.
Read actively: Mark passages that strike you. Note words, ideas, or images that resonate for you. Consider how Lamott’s idea of “short assignments” applies to your inquiry paper for this class.
Brainstorm a list of “short assignments” for yourself on this semester’s inquiry paper. “Short assignments” might include writing
- a description of a place or person
- a brief account of an interview you did
- a brief comparison of your arts organization with another
- an explanation of one key argument you’d like to make
- a one-paragraph “dialogue” with a source
- an introductory paragraph, or “curtain-raiser”
- etc.
Write. Choose one of your short assignments and write it.
Save a copy of the paper on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Short Assignment.”)
* Save your list of short assignments! Keep working your way through the list, one at a time, over the course of the next few weeks. Before you know it, you’ll have written your inquiry paper.
Read “Short Assignments” from Bird by Bird: Some Instructions on Writing and Life by Anne Lamott in your Course Reader: pp. 101-102.
Read actively: Mark passages that strike you. Note words, ideas, or images that resonate for you. Consider how Lamott’s idea of “short assignments” applies to your inquiry paper for this class.
Brainstorm a list of “short assignments” for yourself on this semester’s inquiry paper. “Short assignments” might include writing
- a description of a place or person
- a brief account of an interview you did
- a brief comparison of your arts organization with another
- an explanation of one key argument you’d like to make
- a one-paragraph “dialogue” with a source
- an introductory paragraph, or “curtain-raiser”
- etc.
Write. Choose one of your short assignments and write it.
Save a copy of the paper on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Short Assignment.”)
* Save your list of short assignments! Keep working your way through the list, one at a time, over the course of the next few weeks. Before you know it, you’ll have written your inquiry paper.
Thursday, March 8, 2007
Fire on the Mountain
I just saw Fire on the Mountain at the Rep, and I loved it... it's the story of coal mining in the Mountains of Kentucky and West Virginia, and it's told through music -- real, live, blue grass, country music. There's 3 fiddler players, a banjo player, lap steel player(he's amazing), and everyone sings. If you like this kinda music, I very highly recommend it -- and it brings to light the horrors of coal mining in an engaging way.
And you can get in for $10 if you're under 25, $6 with teen tix :)
Go see it!
And you can get in for $10 if you're under 25, $6 with teen tix :)
Go see it!
Wednesday, February 28, 2007
Upcoming Events featuring . . . us!
Check out upcoming events featuring the work of our class members:
Roll Call: Year One
A juried exhibition of first year art students who are competing against members of their own class for merit scholarships ranging from $500-$10,000 towards tuition.
A juried exhibition of first year art students who are competing against members of their own class for merit scholarships ranging from $500-$10,000 towards tuition.
Feb 27-March 2
Cornish Main Gallery 1000 Lenora Street, 1st Floor
Cornish Main Gallery 1000 Lenora Street, 1st Floor
Free. Cornish Main Gallery hours are Monday - Friday, 9am – 4pm.
BFA Dance Concert
March 1-4
Broadway Performance Hall
1625 Broadway at Pine
Tickets are free but required for admission. Ticket reservations are made by calling 206.726.5151, Ext 1018
Tickets are free but required for admission. Ticket reservations are made by calling 206.726.5151, Ext 1018
Myth Projects
Performances created by first-year theater students.
March 6 at 8PM
Raisbeck Hall
Free.
Other events? Please post!
Monday, February 26, 2007
For people who loved the Vivarium . . .
The "Other" Life of a Tree
by Mark E. Harmon
A tree's life is not over once it falls to the forest floor. An entirely new life is only beginning.
Releasing small quantities of stress-related chemicals into the air, the tree announces its new life. Sensing minute concentrations of these compounds on their antennae, many insect species hone in on these recently fallen trees, in which they make a home and provide food for their larvae. Those locating a new home release scents which encourage others to join them. Insect predators, cued into the chemical "chatter," arrive and scurry along surfaces to ambush new arrivals. Other large and colorful beetles or wasp-like insects arrive to lay eggs that develop into large larvae, which bore deep into the wood. As the insect larvae mature, they leave holes up to one inch deep in diameter which provide access to salamanders, centipedes and other insects.
Fungi, protozoa, nematodes and bacteria also hitch rides on these insect "taxi cabs" from one dead tree to the next. Wind and water carry these decomposers to the new feast, too. Among these are the fungi, the world's foremost experts in breaking down trees. They weaken the wood and thus provide food and shelter for other organisms, such as dampwood termites.
The tree is gradually decomposing.
As life changes inside the tree, so it also changes on the outside. Lichens, mosses and liverworts draping the log's surface trap falling needles and leaves from trees above. As these leaves accumulate, they form deep rich organic soil both around the dead tree and on its surface. This rich soil traps seeds and spores, begetting ferns and shrubs. New trees seed themselves and are nourished by the tree we called "dead."
Trees and plants that root and live on the "nurse log" receive nutrients from what is left of the original fallen tree, which has been altered by insects, fungi, bacteria and other decomposers. In time, the growth and life of such nursing "babies" further reduces the original tree to a small fraction of its size.
It now has a new life--as a nurse log.
Long after the nurse log is only a brick-red residue, the plants and trees it has nurtured remain, beginning anew the cycle of life in the forest.
Mark E. Harmon is the Richardson Chair and Professor, Department of Forest Science, Oregon State University.
Myth Projects!
So, I'm not sure anyone would be interested, but I'm going to tell ya all anyway...
March 6 at 8 in Raisbeck, a night of ensmeble generated MYTH PROJECTS! It should be freakin' awesome -- the whole freshman theatre class has been working on putting these together for the last few weeks... you've never seen aything like it.
So come and watch! It's free, it's fun, and you'll get to see Jessie and I act!
March 6 at 8 in Raisbeck, a night of ensmeble generated MYTH PROJECTS! It should be freakin' awesome -- the whole freshman theatre class has been working on putting these together for the last few weeks... you've never seen aything like it.
So come and watch! It's free, it's fun, and you'll get to see Jessie and I act!
Friday, February 23, 2007
Time to be creative i spose...
My neglect of writing about the OSP is for one reason. I didn't like it (big surprise?).
I liked things about it. The Vivarium was pretty awesome I thought. It's like that song from the Lion King, The Circle Of Life. I just thought it was cool how it showed the existence of everything, dead or alive, can impact our surroundings. Weather it is a passed away family member of friend, our presence in the material world will always have an impact, even when we no longer are in this realm of existence. And maybe that's what I saw from this dead rotting tree. Kind of funny how one can get something deep like that from something like a dead tree log. no?
When I think of sculpture parks, I think of massive, FINISHED, spaces with large works of art. They had impressive sculptures, yes. And wonderful architecture, with the design of the buildings. But it was like the sculpture park in Leningrad, Russia (which was never completed). I don't know... maybe I'm an ass. If you're going to half ass something, at least clean up the edges and make it look somewhat pretty. Whatever.
It was a good bonding experience.
Here is a story.
I remember when I was little I had Burt and Ernie dolls from Sesame Street. I liked Ernie better and decided one day he needed a hair cut so he could be even better than Burt. Burt was really suck. He looked like a banana, his colours on his shirt were ugly, and he couldn't hold the gun from my G.I. Joe action figure(sometimes Burt and Ernie had to help kick some ass with G.I. Joe).
Anyways... I went and got my two tone, red and white, safety scissors and proceeded to give him a nice short hair cut. After I was finished... well... lets just say Burt was my favorite from then on. You could see Ernie's weave and look down into his hollow, orange skull. I ruined Ernie. He looked like he had just had a lobotomy. Oh well. I think those two are up in my parents attic now. I gave other things hair cuts too. The neighbor girl, my cat, my mom, and even myself. Eventually I spose I grew out of that phase.
I liked things about it. The Vivarium was pretty awesome I thought. It's like that song from the Lion King, The Circle Of Life. I just thought it was cool how it showed the existence of everything, dead or alive, can impact our surroundings. Weather it is a passed away family member of friend, our presence in the material world will always have an impact, even when we no longer are in this realm of existence. And maybe that's what I saw from this dead rotting tree. Kind of funny how one can get something deep like that from something like a dead tree log. no?
When I think of sculpture parks, I think of massive, FINISHED, spaces with large works of art. They had impressive sculptures, yes. And wonderful architecture, with the design of the buildings. But it was like the sculpture park in Leningrad, Russia (which was never completed). I don't know... maybe I'm an ass. If you're going to half ass something, at least clean up the edges and make it look somewhat pretty. Whatever.
It was a good bonding experience.
Here is a story.
I remember when I was little I had Burt and Ernie dolls from Sesame Street. I liked Ernie better and decided one day he needed a hair cut so he could be even better than Burt. Burt was really suck. He looked like a banana, his colours on his shirt were ugly, and he couldn't hold the gun from my G.I. Joe action figure(sometimes Burt and Ernie had to help kick some ass with G.I. Joe).
Anyways... I went and got my two tone, red and white, safety scissors and proceeded to give him a nice short hair cut. After I was finished... well... lets just say Burt was my favorite from then on. You could see Ernie's weave and look down into his hollow, orange skull. I ruined Ernie. He looked like he had just had a lobotomy. Oh well. I think those two are up in my parents attic now. I gave other things hair cuts too. The neighbor girl, my cat, my mom, and even myself. Eventually I spose I grew out of that phase.
Thursday, February 22, 2007
Art With No Walls
The first thing I thought about when we got to the park was, "The only problem with art with no walls is the fact that there is nothing shielding me from the rain." I will be honest and say that I was wishing for the sun a lot of the time we were at the park but the more I think about it, the more I realize something. I realize that the weather is part of the art. It is part of the concept, "Art With No Walls."
Art within a museum doesn't really change. It is not meant to. It is meant to stay exactly as it was installed. Most of the time, the environment in which it is viewed will never change. The environment that we are in has a huge effect on us. So, with the ever-changing art of weather, we will never see these sculptures in the exact same environment. I think that's pretty amazing. It's almost like the art changes with the environment around it...completing a circle where the art is displayed exactly as it was meant to on that particular day.
As we leave the park, we can imagine the sculptures asking us to come back and see another side of who they are.
Art within a museum doesn't really change. It is not meant to. It is meant to stay exactly as it was installed. Most of the time, the environment in which it is viewed will never change. The environment that we are in has a huge effect on us. So, with the ever-changing art of weather, we will never see these sculptures in the exact same environment. I think that's pretty amazing. It's almost like the art changes with the environment around it...completing a circle where the art is displayed exactly as it was meant to on that particular day.
As we leave the park, we can imagine the sculptures asking us to come back and see another side of who they are.
Tuesday, February 20, 2007
The park
I loved the park... it was my favorite field trip of this year, and may be even of last, although I loved Seattle Rep....
I come from Oregon, and I've grown up surrounded by trees. Now I'm in Seattle, and I'm surrounded by art. And at the OSP, I found both, in a way I was not expecting. The walk through the trees, discovering giant scupltures that look klike they'd grown there, rather than been placed, the sounds of the cars and train, the smell... there's no place like it.
It's hard to pick my favorite one... I could talk about anyone of them passionately. However, I choose the Wave for this current post.
There was something safe feeling about it -- like it was protecting me from the world, but not enclosing me. I look up and it pierces the sky, I look to either side and it surrounds me, keeping the sky from falling down on me. I walk to the end, but then I turn and it's there again! Everywhere I look, it's there... I walk around in circles, around it and beyond it, longing to touch it but the signs beg me not to, so I don't... I let it touch me instead.
And I loved the cocouns(sp)! Super fun -- I hope that everyone got a chance to sit in them, cuz they were awesome --- fun art :) I want one for my bedroom :)
I come from Oregon, and I've grown up surrounded by trees. Now I'm in Seattle, and I'm surrounded by art. And at the OSP, I found both, in a way I was not expecting. The walk through the trees, discovering giant scupltures that look klike they'd grown there, rather than been placed, the sounds of the cars and train, the smell... there's no place like it.
It's hard to pick my favorite one... I could talk about anyone of them passionately. However, I choose the Wave for this current post.
There was something safe feeling about it -- like it was protecting me from the world, but not enclosing me. I look up and it pierces the sky, I look to either side and it surrounds me, keeping the sky from falling down on me. I walk to the end, but then I turn and it's there again! Everywhere I look, it's there... I walk around in circles, around it and beyond it, longing to touch it but the signs beg me not to, so I don't... I let it touch me instead.
And I loved the cocouns(sp)! Super fun -- I hope that everyone got a chance to sit in them, cuz they were awesome --- fun art :) I want one for my bedroom :)
Sunday, February 18, 2007
Too Bad
I don't know if blogger.com just doesn't like my mac, or vice-versa, but uploading pictures has proven to be extremely time consuming and generally unsuccessful. This reminds me of the Olympic Sculpture Park. I imagine that they opened it when they did to prompt the public to donate enough money so that they could finish it, however I think this was a poor decision. For the amount of hype that the park received, showing up at the park only to find that there were chain link fences, excavators, and large expanses of dirt covering the area, I found it difficult to appreciate the sculptures in their bleak surroundings. I found it depressing to know that this is the best they could do. Typical of Seattle to talk something up solely for the purpose of attaining funding and press.
This was my favorite sculpture in the park. I like the positive and negative space it creates from this angle. The only angle I enjoyed taking pictures of the sculptures from was pointing towards the sky, so you couldn't see all of the construction that surrounded these otherwise fantastic pieces of artwork.
Saturday, February 17, 2007
GAP Grants -- Time to Apply
Do you need support for an upcoming artistic project? If so, take a look at Artist Trust's "Grants for Artists Projects" (GAP) program which provides project grants of up to $1500 to develop, create, or present new work. The awards are selected by a multi-disciplinary peer review panel of artists and arts professionals, and selection is based foremost on artistic excellence. Artists in the performing, visual, literary, media, and emerging/cross-disciplinary arts are eligible.
The deadline for the 2007 GAP application is February 23, 2007. Download an application at www.artisttrust.org.
Also, Artist Trust offers free workshops on how to build a strong application. For details, go to www.artisttrust.org/events/artist_workshops.
The deadline for the 2007 GAP application is February 23, 2007. Download an application at www.artisttrust.org.
Also, Artist Trust offers free workshops on how to build a strong application. For details, go to www.artisttrust.org/events/artist_workshops.
another quote for another day
"they started to know more and more about less and less
until they knew everything about nothing" -do you know where this quote is from?
until they knew everything about nothing" -do you know where this quote is from?
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