Sure, we’ve seen the Snowpocalypse or Snowmageddon hashtags, but here at CHS, it is all about “Snowbruary.” Find stuff to do during the second week of this month of snow and ice on the CHS Calendar (but please check on social media or by phone about cancellations and closures), or find a list of things that will warm up your soul, and perhaps your Valentine, below.
THURSDAY, Feb. 14: Whether you’re looking to escape V-day or planning on taking date night to new, artsy levels, this month’s Capitol Hill Art Walk is the place to be with a slew of promising art openings. Over at Cupcake Royale, check out I Am Andy Warhol by Seattle artist Blake Blanco, who exhibits a series of portraits painted using Andy Warhols’ Polaroids. Find heartbreak, love, bananas, and ponies at The Factory and burgers plus a concert by Tarsier Eyes during Requiem for Burgerland over at the FoodArt Collection. Various locations
Capitol Cider markets its Thursday-eve Cards Against Cupid event as an anti-Valentine’s day option, but their free hosted version of Cards Against Humanity is really another (albeit fun) pretext for Pink-hued clichés and, perhaps, meeting someone. Players will be able to write “secret” notes to other guests, drink the “50 Shades of Pink Cider” and cuddle up in the “#PrettyInPink photo booth or try the themed cocktail specials. Maybe “The Heartbreaker”? Capitol Cider, 8 PM
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FRIDAY, Feb. 15 THROUGH WEDNESDAY, Feb. 21: There’s perfect timing, and then there’s Noir City Seattle, a festival of classic mid-century American noir movies, amidst a snowstorm that blanketed the city in a monochrome blanket of desolation. For six potentially dark days and nights, The Egyptian is the nexus for film noirs such as the recently-restored 35-mm thriller Trapped or a young Stanley Kubrick’s Killer’s Kiss. We recommend taking a good look at the program, which also includes live music performances, trivia, burlesque performance, and a food pop-up by Chef Joshua Henderson on Saturday, Sunday and Monday. SIFF Cinema Egyptian
SATURDAY, Feb. 16: “There is nothing quite like the moment when you find in a box of junk something that spikes your blood pressure, in the same way that falling in love does,” says Jack Bennett. Having lived on the Hill for nearly two decades, Bennett wanted a real flea market and basically “something walkable and wonderful to do after a few brunch mimosas.” Enter the brand-new, monthly Capitol Hill Dandy Flea Market, debuting this weekend at Vermillion, which will include multiple vintage clothing sellers, art and apparel by Jesus Mary Anne Joseph, jewelry, antiques and vintage, curiosities, drink specials and the return of the infamous “Wheel of Pain.” Vermillion, 12-6 PM
TUESDAYS through SUNDAYS: There are currently many reasons to pay a visit to the Frye Art Museum —Snow/slush outside! Free admission, always! Great art by Tschabalala Self and Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian! — but chief reason among them is “DITCH,” a performance and immersive installation headlined by Cherdonna Shinatra, the persona of Seattle-based dance artist Jody Kuehner. The space Shinatra and members of her newly formed dance company, DONNA, have carved out is decidedly colorful, femme, queer, feminist and all-around wonderful. Check out the schedule for daily performances here. Frye Art Museum
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, firstname.lastname@example.org
Come practice gothy, slow-flow vinyasa to the musical stylings of dark wave bands like Joy Division, Black Tape for a Blue Girl, and Depeche Mode in the weird and lovely Ritual space on Pike Street. This is a free karma class meant for all friends and neighbors on the Hill, taught by one of the Ritual owners, a certified vinyasa instructor, and all attendees enjoy a 15% discount if they stay and shop after class.
Capitol Hill Meditation Sit/Class on with Rebel Saints Meditation Society.
Sunday Morning10:30 AM to Noon
Learn how to use the practice of meditation to become more kind, more compassionate and more forgiving towards yourself, towards others and towards the world.
30 minute guided meditation-talk-discussion
We are located at 1423 10th Ave Studio 9 in the Pike/Pine corridor of our beloved Capitol Hill Neighborhood.
We are easily accessible by all public transportation with the light rail station three blocks from our door…
You will find us by walking down the ramp and entering thru the red door..
The Capitol Hill Broadway Farmers Market supports Washington’s small family farmers by creating a vibrant neighborhood farmers market. Located outside the Seattle Central Community College, the Market runs year-round every Sunday from 11am-3pm, and has been in operation since 2005. One can find fresh Washington grown produce, fruit and flowers, meat and cheese, seafood and eggs, bread and grains, dairy products and hot prepared food, live music and cooking demonstrations, and that’s just the start! We are happy to accept EBT, and can answer any of your questions at the Market Manager booth. Join us!
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.