Other speakers included Congressman Jim McDermott b. David Hughbanks, who worked for the Century 21 Special Events Division and later for Seattle Center as director of marketing and planning. For the rest of the day, there was fun for all throughout Seattle Center. The Space Needle offered rides to the top for only one dollar.
New temporary art installations caught the eye throughout the grounds. Music filled the air. Scavenger hunts challenged puzzlers. Food trucks and carts filled walkways, tempting hungry visitors with a wide variety of delightful aromas. In the afternoon, an organized flash mob appeared, danced the twist, and then quickly dispersed into the crowds.
The music of Richard Wagner's iconic opera will fill the Seattle Center campus from the Fisher Pavilion Lawn to the International Fountain and includes jumbo screens for all to enjoy. In this concert version of the opera, audiences will be treated to an internationally-renowned cast of Wagnerian stars.
Wagner's larger-than-life masterpiece is brought to life by members of the Seattle Symphony Orchestra and conducted by former Music Director Ludovic Morlot. Inflatable chairs are not allowed. There is a limited amount of armless high back chair seating available for those with accessibility needs.
Call for details. Performance Information. Concert Time: 2 hours, 40 minutes with one intermission. This is an in-person event and will not be live streamed. Masks will be required in order to protect the youngest members of our community as well as those who are unable to be vaccinated. Doris Chase, Broad Street Green Moon Gates by Doris Chase is an abstract group of three bronze sculptures that plays with oppositions inspired by space and form.
Two sculptures with convex surfaces, one rhomboid and one ovoid, are each pierced by a circular hole. The concave surface of the third sculpture also contains a round void at its center, but its missing piece can be found attached to the top of the sculpture on a bearing that allows it to rotate. The juxtaposition of positive and negative spaces with circular and rectangular forms creates a dynamism that stimulates the mind and invites the viewer to sit, stand and play among the forms.
Tony Smith, Broad Street Green Tony Smith's 5, pound abstract sculpture is a collection of oblique planes and geometric volumes united to create a multifaceted surface in black steel. The artwork gets its name from the parallel upright forms that suggest horns in Michelangelo's Moses.
His representation came from a mistranslation of a Hebrew word that described Moses as having rays of light coming from his head. This temporary model was exhibited each of the following years at Bumbershoot until Neon for Bagley Wright Theatre.
Stephen Antonakos, The medium itself also plays with the stylized patterns formed from neon tubing used on the old fashioned marquees of Broadway theaters—a design choice that evokes the rich tradition of the American stage. Antonakos worked closely with the project architects, NBBJ, to produce a neon sculpture that complements the postmodern architectural style of the building.
Gloria Bornstein, International Fountain Two bronze whales, a mother and her calf, appear to swim through the lawn bordering Seattle Center's International Fountain, their backs cresting above concrete pavers inlaid to resemble the surface patterns of water. The smooth, broad backs of the animals are near-life size, heightening the sense that the whales are indeed traveling beneath Center grounds.
This imagery evokes a Native American myth of an ancient underground spring located nearby that allowed whales to travel between Elliot Bay and Lake Union. The myth, written in both English and Lushootseed Salish Native American language , is inlaid in bronze letters on the cast-concrete tail of the mother whale.
The whales interact directly with their surroundings, merging with the visitor's environment and encouraging people to walk and play among them. The whale whose tail appears in the Children's Garden is part of a pod represented in Bornstein's first Seattle Center sculpture Neototems which features two large bronze whales located on the west side of the International Fountain.
The Neototems Children's Garden is a maze of paths through landscaped gardens leading to a bronze, five-foot tall baby whale tail fountain enhanced by water cascading down the rounded lip of the tail, mimicking a breaching or surfacing whale.
The gardens surrounding the figure provide a place of discovery for children, including a series of "tidal pool" sculptures featuring small bronzes of a seahorse, an octopus, a flying pig, a hermit crab, and a family of three blowfish. North Light. Dynamic color-changing light will wash all faces of the concrete structure. Images and colors inspired by Seattle Center history and team identities will be projected onto the upper center of the truss.
The light show programming will be tied to nightly Arena events such as goals and baskets scored; as well as civic events, holidays and other occurrences. Olympic Iliad. Alexander Liberman, West of the Space Needle Alexander Liberman's largest sculpture, Olympic Iliad, is a monumental agglomeration of 41 steel cylinders ranging in size from 48 inches to 64 inches in diameter located on the lawn originally a lagoon surrounding the base of the sculpture.
Liberman, known for his use of industrially manufactured materials, used giant steel cylinders cut at varying angles and lengths, piled on top of each other with three points touching the ground for support, painted them an industrial red, and assembled them to form an immense structure than one can walk around and underneath.
Peace Pole. Unknown, The garden in which it sits was designed in and is meant to be a quiet contemplative area. The cobblestones surrounding the Pole were salvaged from the original Seattle Center International Fountain during its renovation in the Nineties.
Queue VI. William Sildar, Armory North entrance Laminated wood structure, located in the Armory north entrance lobby depicts a variety of abstracted human-like forms. The work was dedicated December 12, by Wes Uhlman, Mayor. The Raven and the Light.
Iole Alessandrini, Southeast plaza of Climate Pledge Arena The inspiration behind The Raven and the Light, a meditative gathering space in the SE plaza, is the Raven — a mythological figure celebrated among various cultures, including by the Greeks and Romans as a constellation known as Corvus.
The Raven symbolizes creation and the underworld and brings light where before there was darkness. Using a phone app, the Corvus constellation can also be mapped in the sky during the day and onto the ground at night. The virtual room with its interactive features unlocks universal myths and infinite spaces. Angled lines of animated, color-changing light punctuate the stone.
An arc of in-grade lights that begins in the Green Room stretches into the adjacent plaza area, representing the movement of the constellation and beckoning people in.
Seattle Center Totem. Traces of the original bright red and black paint are still visible but undeniably faded. The once well-defined designs of the hand-carved wood have been smoothed by years of wind, rain and sun. This natural weathering is not meant to be viewed as an indication of neglect but rather as a sign of respect in accordance with Native American tradition that totems be left to age gracefully. The Seattle Mural. Paul Horiuchi, Born in Japan, Horiuchi moved to Seattle in where he studied Zen and became involved with the arts community.
In the mids, Horiuchi began working in collage, a technique that would later become his signature. Horiuchi's design originally began as a collage of multicolored torn paper before it was enlarged and reworked into 54 brightly colored panels of Venetian glass fabricated in Italy, that were then cemented to a freestanding cycloramic wall.
Using color variations, Horiuchi intended the mural to evoke the natural beauty and colors of the Northwest. The mural acted then and now as a sound-reflecting acoustic backdrop for the amphitheatre stage. The Seattle Mural was funded by a gift of Century 21 Corporation. Gerard Tsutakawa, This sculptural abstraction visually relates to the movement of waves on water. Seattle is surrounded by water in the Sound, the lakes and rivers.
The SeaWave sculpture is intended to be a strong allegory to movement and our waters, in an easy to read approachable form. Sonic Bloom. Dan Corson, The title refers to the fact that the artwork sings as the public approaches each flower. Every flower has its own distinctive series of harmonic notes simulating a singing chorus. A hidden sensor located in each flower identifies movement and triggers the sound. So if there are 5 people engaging the flowers together, it is possible to compose and conduct music together, or by walking through, randomly set off a harmonic sequence.
Typewriter Eraser, Scale X. Claes Oldenburg and Coosje van Bruggen, In the mids, Claes Oldenburg began to visualize public monuments based on common objects, such as a clothespin or a pair of scissors, instead of historical figures or events. The artist chose the now obsolete typewriter eraser as his model for this work based upon childhood memories of playing with the object in his father's office. In the late s and s he used the eraser as a source for drawings, prints, sculpture, and even a never-realized monument for New York City.
On loan from The Allen Family Collection. Horace Washington, Water's Edge, Year's Round. Joey Kirkpatrick and Flora C.
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