On the List | Outdoor yoga, Sonics appreciation, kid-designed parklets, Brewlab birthday party, and a Trove comeback

If you’re going to have Big Beer in your neighborhood you might as well enjoy the parties (Image: Redhook)

(Image: The Hopvine)

Watching paint dry might not be everyone’s idea of a fun night out, but comedian Mihkel Teemant puts a spin on it at Club Comedy Seattle this Thursday. During the comedy show, the audience can paint along to a Bob Ross video. With QTPOC Is Not A Rapper on Friday, no-cover comedy at The Hopvine and Unladylike at Jai Thai this Saturday, comedy fans will be able to their fix this weekend.

Speaking of fixing: this Saturday, the Capitol Hill Tool Library is hosting another Repair Café.  A team of volunteer fixers will help repair broken household items, including clothing, electronics, jewelry and small home appliances.

Find out where else to go and what to eat and see this weekend on the list below, and head over to the CHS Calendar for more events.

WEDNESDAY, Aug 14: No, the Seattle SuperSonics are not coming back to Seattle (yet). But the owners of Life On Mars, self-declared “huge Sonics fans” want “their” team back. So, naturally, they covered one of their bathrooms in Sonics-themed wallpaper. The wall collage will be unveiled this evening during the Sonics Appreciation Party. Showing up in Sonics gear will get you 15% off drinks all night. Life on Mars, 7 – 10 PM 

PSA: Salty, a play about climate change featuring gay penguins, is still running at 12th Avenue Arts. Already seen it? 12th Avenue Arts is now showing another theatre production about climate change. The intimate play titled “LUNGS” features a couple considering what it means to bring life into this soon-to-be climate-ravaged world, and débuts tonight. 12th Ave Arts, 8 PM 

WEDNESDAYS & SUNDAYS, Aug 14 – Aug 28: Capitol Hill is Seattle’s unofficial dog HQ, but those who would like to take their downward dogs outdoors are in luck now, too. A series of donation-based outdoor classes allow yogis to take their practice to  Volunteer Park and the Arboretum this month.  On Wednesdays, Volunteer Park Trust hosts Yoga Flow for All from 5 – 6 PM, weather permitting, near the dahlia beds at the northeast lawn of Volunteer Park near the main concourse. Capitol Hill-based yoga group Poseurs hosts outdoor vinyasa classes on Sundays at 1 PM at the Arboretum. Students meet at the Visitor Center and will walk over to Foster Island for yoga with a (Union Bay) view.

THURSDAY, Aug 15: It’s unclear whether Boochcraft’s market research included a cursory glance on Urban Dictionary. If it did, it would’ve shown them that “booch” is not just slang for kombucha; it also means cocaine, someone who’s both a “bitch” and a “douche,” and something we’ll only link to. Anyway, “boochcraft” is launching in Seattle this week, and the California company is hosting pop-ups at Capitol Cider and Pine Box to celebrate the occasion. Capitol Cider, 6 PM – 7.30 PM & Pine Box, 7.30 PM – 9 PM 

Each month, the all-female improv band The Blood Moon Orchestra shows up to celebrate the full moon by making up songs based on audience cues. Their Thursday performance features electro-synth wave by Purr Gato, indie-electronic music by Screens, “animated ballads” by Melissa and the Fun Machine, with live visuals by Blazinspace and aerial art by Jane Air. Fred Wildlife Refuge, 8 PM – 1 PM 

FRIDAY, Aug 16: While construction of the permanent AMP: AIDS Memorial Pathway is underway, artists activate the area with artworks and performances. Local dancer and community activist David Rue has curated A Physical Homage, a series of monthly dance performances near or in the station on Third Fridays throughout November. This Friday, see a performance by Kyle Bernbach and Gilbert Small near the Northwest corner of Cal Anderson Park. Cal Anderson, 5.30 PM 

SATURDAY, Aug 17: “We can pout about big beer’s decision to play a big role in Capitol Hill’s brewing scene. Or we can enjoy some of the perks that come with major beer brands putting their assets to work creating the ultimate marketing: goodwill with good beer,” CHS wrote last year about Redhook Brewlab.  The Pike Ave brew lab, owned and operated by global brew force Craft Beer Alliance (of dominating AB InBev), is now celebrating two years on the Hill with all-day anniversary beer pricing, music by KEXP DJ’s, brewery tours, and the sale of merch and new limited-edition El Sonido Camp Mug. Each comes with a can of El Sonido. All proceeds will go to support Seattle Musicians Access To Sustainable Healthcare. Redhook Brewlab, 12 PM  – 11.59 PM

Capitol Hill-based fans of husband and wife chef team Rachel Yang and Seif Chirchi, who announced the closure of their food-fourplex Trove last June, are in luck. The couple still has a lease on the place, and this month, they’re launching a new series of pop-up dinners. BREAK A LEG! features 36 different small plates inspired by hanjeongsik, a Korean meal of small, colorful barchan plates, including caramelized kimchi dumplings, fried cauliflower, chilled beef salad, and tuna poke. Break A Leg is, by the way, not about wishing Trove’s owners luck in future endeavors, but a reference to the saying “The table’s legs are about to break” from all the delicious food. $95 per person. Trove, 6 PM – 8.30 PM 

This year’s Seattle Design Fest comes to the Hill with a “Design Crawl.” Some highlights include a youth-focused “Level Up Your Street” workshop where youth ages 10-16 can learn about parklets, “level up” the pedestrian experience and build three-dimensional models with architects and landscape architects from the Board & Vellum office. At Goethe Pop Up, explore how urbanism, architecture, and design can further justice, ecology, and community will look into how livable our city is with architect Kira Jungfleisch. Various locations, all-day 

SUNDAY, Aug 18: Soccer might just be Seattle’s official sport. If you’ve been meaning to take up the game or looking to find a group to hone your skills with, Seattle’s LGBTQ+ soccer organization Rain City Soccer Club is hosting open “kickarounds” this summer at the Miller Community Center. “Just bring proper footwear, water, and a positive attitude. People of all backgrounds and skill levels are welcome.”  Miller field, 3 PM.

RealSelf House of Modern Beauty: A Pop-Up Beauty Event @ The Riveter - Fremont
Oct 19 @ 10:00 AM – Oct 20 @ 5:00 PM

At RealSelf.com, we demystify cosmetic treatments and procedures so you can make smart and confident beauty decisions. In celebration of this mission, we launched the RealSelf House of Modern Beauty—an interactive pop-up event where guests can explore the world of medical aesthetics and discover the latest beauty treatments.

On Saturday, Oct. 19 and Sunday, Oct. 20, RealSelf will transform an office building in Seattle’s Fremont neighborhood into the House of Modern Beauty—a medical spa, beauty pop-up, and interactive event all-in-one. 

The two-day event will feature complimentary cosmetic treatments like microneedling, laser hair removal, and nonsurgical muscle toning, as well as visual installations (perfect for Instagram), and expert-led panel discussions featuring local media and entrepreneurs. 

Entry is free, ages 18+.

Learn more about RealSelf.com and the Seattle House of Modern Beauty at https://houseofmodernbeauty.realself.com/

RealSelf Media Contact: Madison Phillips, madison@realself.com

Donald Byrd: The America That Is To Be @ Frye Art Museum
Oct 20 @ 11:00 AM – 5:00 PM

Jeffrey S. Kane. Donald Byrd, 1989. Photograph. Courtesy of Jeffrey S. Kane.

Seattle-based choreographer Donald Byrd works at the forefront of contemporary performance. For four decades, he has created innovative and startling dance theater works that explore the extraordinary capacities of dancers’ bodies, the complexities of Africanist aesthetics, and the ways that theatrical dance can open audiences toward social change. Presenting selected works from across his prodigious career, Byrd’s first solo museum exhibition reflects Americans’ ongoing struggles to care for our complex diversity. The show centers the artist’s firm belief in an America that is to be: one that is “multi-racial in every aspect.” For Byrd, the future of performance will include “a full spectrum of who lives in America on the stage…a reflection of our world.”

More than any other statesman of contemporary dance, Byrd concerns himself with the terms of social encounters that produce racialized and gendered subjects. His works test suppositions: he wonders on public stages about the conditions of gender and misogyny, race relations, eternal warfare, sexual identity, and the price of obsession. Working across multiple genres—in Hollywood, on Broadway, in opera, and with major ballet and modern dance companies—Byrd always moves toward the most difficult questions, boldly, forcefully, and thoughtfully. In so doing, he presses us all to understand the potential of dance as an act of defiance, as a demonstration of expertise, and as a meditation on what else could be.

The America That Is To Be incorporates archival performance footage and ephemera from various stages of Byrd’s forty-plus years of creativity with in-gallery dance performances. The exhibition traces his beginnings at California Institute of Arts, where his dance work took on a punk-inspired aesthetic, to his early works with his first dance company Donald Byrd/The Group (active from 1978–2002), through crucial collaborations with groups including the Alvin Ailey American Dance Theater, and his work since 2002 as Artistic Director of Seattle’s Spectrum Dance Theater. Reflecting the way Byrd’s vision has evolved into its full expression across a remarkable array of dance-theater works, The America That Is To Be demonstrates the passionate affirmation of a mature artist’s belief in dance to inspire social transformations; to dance toward social justice.

Donald Byrd (American, b. 1949, New London, North Carolina) is a Tony-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer. He has been the Artistic Director of Spectrum Dance Theater in Seattle since December 2002. Formerly, he was Artistic Director of Donald Byrd/The Group, a critically acclaimed contemporary dance company, founded in Los Angeles and later based in New York, that toured both nationally and internationally. He has created dance works for many leading companies including Alvin Ailey American Dance Theater, Pacific Northwest Ballet, The Joffrey Ballet, and Dance Theater of Harlem, among others, and worked extensively in theater and opera.

His many awards, prizes, and fellowships include Honorary Doctorate of Fine Arts, Cornish College of the Arts; Masters of Choreography Award, The Kennedy Center; Fellow at The American Academy of Jerusalem; James Baldwin Fellow of United States Artists; Resident Fellow of The Rockefeller Foundation Bellagio Center; Fellow at the Institute on the Arts and Civic Dialogue, Harvard University; and the Mayor’s Arts Award for his sustained contributions to the City of Seattle.

Donald Byrd received the 2016 James W. Ray Distinguished Artist Award, which is funded by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. The award supports and advances the creative work of outstanding artists living and working in Washington State and culminates in a presentation at the Frye Art Museum.

Donald Byrd: The America That Is To Be is organized by Frye Art Museum and curated by Thomas F. DeFrantz, Professor of Dance, Duke University. Lead support for this exhibition is provided by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. Additional generous support is provided by Graham Construction. Media sponsorship is provided by Encore Media Group.

Dress Codes: Ellen Lesperance and Diane Simpson @ Frye Art Museum
Oct 20 @ 11:00 AM – 5:00 PM

Diane Simpson. Window Dressing: Background 6, Collar and Bib-deco, 2007/08. Foam board, linoleum, wood, aluminum, enamel, and spun-bond polyester. 96 x 120 x 16 in. Courtesy of the artist; Corbett vs. Dempsey, Chicago; JTT, New York; and Herald St., London.

Clothing is both a highly personal and socially constructed system of communication: a signifying point of contact between individual identities and collective attitudes, customs, and trends. Dress Codes brings together the work of two artists who perform acts of translation in relation to clothing’s form and ornamentation, pressing images of historical garments—and the values encoded within them—through the interpretive interface of the grid. Though they begin from different types of source material and seek divergent ends, Ellen Lesperance and Diane Simpson both employ the gridded instructional diagram as a means for transformation across time and dimension. In the process, they return the grid, an idealized format associated with Modernist abstraction, to the practical ethos of the applied arts and domestic craft, connecting the everyday language of dress to wide-ranging cultural and political histories.

Lesperance creates gouache paintings based on the attire of women activists using American Symbolcraft, the visual shorthand of knitting patterns, in which the color of each stitch is shown as a single cell within the matrix of specialized graph paper. Working from footage and photographs of protest movements—most notably the Greenham Common Peace Camp that mounted anti-nuclear-armament demonstrations in Berkshire, UK from 1981 to 2000—the artist carefully translates activists’ (often homemade) clothing into the flattened space of hand-ruled paper, extrapolating to fill in areas that are invisible within the source images. The paintings function as standalone artworks and also as directions for re-making the pictured garments, as homage to the original wearers, a record of their ideological symbology, and stimulus to likeminded action in the present.

Simpson’s sculptural work begins with illustrations found in antique clothing catalogues, window dressing manuals, and histories of dress. Submitting pliable articles like collars, cuffs, aprons, and bonnets to the rigid constraints of a two-dimensional diagram—modeled on axonometric projection employed in architectural drawings, which integrates multiple viewpoints into a single image—the artist renders their forms in a foreshortened perspective that she then maintains when constructing three-dimensional versions. The resulting angular distortions—coupled with dramatic shifts in scale and materiality—both estrange and magnify the garments’ relationship to the body, underscoring their sociological significance as imposed expressions of gender norms, class status, and morality.

Through the process of encoding structure into schematics, both Lesperance and Simpson transform their source material into something new, embedding their own perspective in translations of the past. Dress Codes brings their work into conversation for the first time, highlighting their body- and craft-adjacent use of the grid as a feminist alternative to patriarchal representational traditions of painting and sculpture.

Ellen Lesperance (American, b. 1971, Minneapolis, Minnesota) lives and works in Portland, Oregon. Her work has been exhibited nationally at the Brooklyn Museum of Art, New York; The New Museum, New York; the Portland Art Museum, Oregon; the Drawing Center, New York; and Seattle Art Museum, Washington and internationally at the Bonniers Konsthall, Stockholm and the Tate St. Ives, England. She has received grants and awards from the Robert Rauschenberg Foundation, Art Matters, Pollock-Krasner Foundation and the Ford Family Foundation.

Diane Simpson (American, b. 1935, Joliet, Illinois) lives and works in Chicago. Recent one and two-person exhibitions of her work have been held at Herald Street, London; Corbett vs Dempsey, Chicago; JTT, New York; NYU Broadway Windows, New York; Silberkuppe, Berlin; Institute of Contemporary Art, Boston; and Museum of Contemporary Art, Chicago. She has exhibited in numerous group exhibitions, including The Jewish Museum, New York; The Hessel Museum at Bard College, Annandale-on-Hudson, N.Y.; the Art Institute of Chicago; White Columns, New York; and CCA Wattis Institute, San Francisco, and will participate in the 2019 Whitney Biennial.

Dress Codes: Ellen Lesperance and Diane Simpson is organized by the Frye Art Museum and curated by Amanda Donnan. Media sponsorship provided by Crosscut.

Frame of Mind: Storytelling Through Animation @ Frye Art Museum
Oct 20 @ 11:00 AM – 5:00 PM

Image: Madeline Courant Rathbun

A Partnership for Youth exhibition, Frame of Mind: Storytelling Through Animationshowcases the results of an eight-week workshop for teens led by teaching artists from Reel Grrls, during which students develop, animate, and edit their own stop-motion film projects.

Italy From Hat To Boot Wine Tasting @ Madrona Wine Merchants
Oct 20 @ 11:00 AM – 5:00 PM

From Alto Adage in the north to Sicily in the south, we are on an Italian adventure this Sunday. Stop by for a taste of these Sunday Sippers.

2016 Castel Sallegg Sauvignon  $12
From Alto Adage — Classic and direct Italian Sauvignon Blanc.  Aromas of grapefruit, peach, freshly cut grass, tomato leaves and nettles. It is moderately heavy, juicy and fresh on the palate with a pleasant mellowness and a good length.  Was $18 now $12

2015 Alcesti Admeto  $15
This Sicilian Syrah has a rich and mellow bouquet and notes of wild berries in perfect harmony with spicy hints of black pepper and balsamic notes. It has a generous flavor, with a pleasant tannic, velvety and persistent sensation.

Madrona Wine Merchants offers free wine tastings featuring 4-5 selections on a theme every Saturday from 2 until the bottles run out and on Sunday, we offer a mini-tasting of two wines all day from 11-5.

Pierre Leguillon: Arbus Bonus @ Frye Art Museum
Oct 20 @ 11:00 AM – 5:00 PM

Pierre Leguillon. Installation views of Arbus Bonus, 2014. 256 framed magazine pages, pile of vintage magazines, 11 crates, captions. Dimensions variable. Carnegie Museum of Art, Pittsburgh: The Henry L. Hillman Fund, 2014.13.1-.269. Photo: Bryan Conley.

Pierre Leguillon’s artwork-as-exhibition Arbus Bonus calls attention to the major role famed twentieth-century photographer Diane Arbus’s work has played in defining the image of American postwar popular culture. Bringing together every published magazine spread that features her photography, Leguillon’s project considers the ways in which cultural histories are assembled and disseminated, and proposes more inclusive counter-narratives.

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