Tschabalala Self explores the iconography, interiority, and subject status of Black women in her multimedia portraits.
SEATTLE — “Home Prices Bring Smiles, Tears.” “Anti-Homeless Attacks Won’t Solve Problem.” When I saw these headlines running across the Seattle Times and Seattle Weekly newspapers earlier this month, a single sentence flashed through my mind, on repeat: “Housing is a human right.”
The apples in Seattle’s Piper’s Orchard will ripen this summer and fall with words from a 26-section poem printed on their skin.
Tails, feathers, claws, paws, and slender toes peak out from blurred scans of natural history specimens included in Ann Hamilton’s new exhibition at the Henry Art Gallery in Seattle.
TUBS, a longtime graffiti spot in Seattle, was demolished yesterday, MyNorthwest.com reported.
Mad Homes is a fascinating lo-fi community approach to public installation. A local nonprofit, Mad Art, invited 14 artists to create interventions in homes that are soon to be demolished in Seattle’s Capitol Hill neighborhood. The result is a mixture of installations that consume, infiltrate and surround the soon to be doomed and still perfectly well kept and usable houses.
Global coffee retailer Starbucks is turning 40 this year and they’ve announced a new logo to coincide with the occasion. Looking at the sweep of logos from the original topless two-tailed mermaid — though the company often calls it a siren — that appeared on cups at their first store in Seattle’s Pike Place Market to the more modern version, I can’t help but notice the march towards abstraction and a less coffee-centric brand. Gone is the word “coffee” and the color brown, and in its place is an almost Holiday Inn-like bland greenness that zooms in even closer on the increasingly de-nuded mermaid. What this redesign suggests is that Starbucks will continue to look beyond coffee and go more downmarket as it continues to grow.