It’s February, which apparently means snow on Capitol Hill, an uptick in seasonal depression, and corporations peddling pink-hued crap for Valentine’s day. Luckily, there’s all-day happy hour plus sushi and whiskey cocktails over at Tamari Bar, Aphrodisiac-tincture making at Ada’s on 15th and sunny indie-pop at Chop Suey to distract us all. Find this and much more here below or on the CHS Calendar. And if you need more to do, jump on the streetcar and celebrate the Lunar New Year at Hing Hay Park in the ID on Saturday.
THROUGH THURSDAY, Feb. 14: A year ago, the brand-new Tamari Bar arose between Summit Avenue and East Pine (or, as CHS put it then, “where World of Beers and the ghosts of old Pike/Pine once reigned”). The informal, new-style Izakaya has not lost any of its attraction, thanks to a steady stream of excellent cocktails (such as the Toki-tory Saburo highball), omakase, sushi, noodles and much more. Tamari Bar now wishes itself a Happy Birthday during a ten-day Happy Birthday Tamari Bar (1st Anniversary!) fest of all-day happy hour, special dishes and an Insta-contest to win gift certificates and T-shirts. In case you missed it: that’s happy hour. All day. For ten days. Kanpai! Tamari Bar
THURSDAY, Feb. 7: It’s safe to say many Seattleites are not entirely over the fact that local surf-rock quartet La Luz exchanged the Emerald City for sunlit LA two years ago. La La Land and its never-never-ending allure recently pried away another kick-ass band from our fair city: Tangerine. Tonight’s your chance to catch the trio (consisting of sisters Marika and Miro Justad and Toby Kuhn) and their dreamy, eighties-infused indie-pop during a one-night homecoming at Chop Suey. Chop Suey, 8 PM
THURSDAY, Feb. 7: Looking to escape seasonal depression and/or corporations peddling useless merchandise for Valentine’s Day? Hard to fathom, perhaps, but there might just be a fine compromise to make February and Valentine’s Day-madness slightly more bearable: an evening of Aphrodisiac Tincture Making over at The Lab at Ada’s. Attendees will learn about herbs historically used as aphrodisiacs plus make their own tinctures under the supervision of Angela Renzetti from Moonlight Medicine Acupuncture & Herbs.The Lab at Ada’s, 6.30 – 9.30 PM (21+)
THURSDAY, Feb. 7 – SATURDAY, Feb. 9: Seeing dancers flow across a stage, utilizing every square inch of the dance floor never ceases to amaze. That said, performing a piece of dance in a confined space full of obstacles is at least as challenging and awe-inducing. Local dancers and choreographers Cameo Lethem and Kaitlin McCarthy are surely up to the latter task. For this year’s installment of reSET, an opportunity for choreographers to utilize theatre sets used in productions of the Washington Ensemble Theatre, McCarthy and Lethem will perform in and on the set of ‘B,’ an absurdist play about revolutionary violence by Chilean dramatist Guillermo Calderon. 12th Ave Arts, 7.30 PM
SATURDAY, Feb. 9: Don’t let the name fool you: F*** Fest #3 is only an orgy of the non-literal, artistic kind. The day-long festival, organized by the longtime Capitol Hill studio-space-meets-incubator Studio Current, features live performance, music, video screenings, snacks and “cheap drinks”. Look out for film screenings with sound scores by DJ Onesies, performances by Nic Masangkay, GRIEF GIRLS and Angel Alviar-Langley, among others, as well as drag performances by Sugar Darling, Juan Monroy, and Angel Baby Kill Kill Kill. FYI: Right before the clock strikes midnight, the party moves to Vermillion’s dance floor. Studio Current, 2 PM – 11.30 PM
SATURDAY, Feb. 9 and SUNDAY, Feb. 10: Indie retailers and designers including Capitol Hill’s Glaswing, Standard Goods, and Likelihood are coming together this weekend for a Citywide Winter Warehouse Sale at E Pike’s Love City Love. “Twice a year your favorite local shops and designers come together to celebrate the end of a season,” organizers say. Come for the local creations and enjoy savings “15% up to 75% off.”
Find the softer side of your flow practice with Slow Flow in The SweatBox Loft. In Slow Flow, we’ll intentionally weave together traditional postures. This class will be unheated and very beginner friendly (aka- no Chaturangas!) Slow your practice down and build your alignment, balance, and focus. Come and expand your strength and flexibility- physically AND mentally. Appropriate for all levels. 80 degrees. This class takes place in The SweatBox Loft and pre-registration is encouraged. Please pre- register and use code 9642 and follow signs to get to The SweatBox Loft space for this class.
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.
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.
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.
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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