Parks Comm PKT 11-17-1999 • CITY OF FEDERAL WAY
JOINT ARTS & PARKS AND RECREATION COMMISSION
Wednesday, November 17, 1999 City Hall
5:30 u.m. Council Chambers
AGENDA
5:30 -6:30 p.m.
1. Meet Gloria Bornstein, Celebration Park 2% for Art Selected Artist
Discussion/Question & Answers
• 7:00 -8:00 p.m.
1. Public Meeting to Introduce Gloria Bornstein
Gloria Bornstein
2333 12th Avenue East Seattle Washington 98102 323 -5217 gbornst704 @aol.com fx 860 -9466
Slide List: I am including a video of Neototems and From One to Z: 4 minutes
1. Neototems, Seattle Center, Seattle, Washington, 1995, detail
Commissioned by the Seattle Arts Commission. These artworks are located at the Seattle Center park
area, a cultural center that includes a children's museum, performing arts center, sports arena, year -round
festivals and supports high tourist traffic. Bornstein was lead artist for the design team that included
Kenichi Nakano, landscape architect and Wet Fountain Design. The team developed a comprehensive
master plan for the International Fountain & Park area. A determined goal was to interpret the energy
flow at the Seattle Center through art and to create landmark gathering nodes for visiting families
representing diverse populations. My focal point for the entire site is entitled Neototems, which
represents the joumeys of different people who passed through this area from archaic time to the
present. The artwork has a mother -calf gathering area inspired by forgotten Native American mythology
that tells of whales magically passing under the site. Key to my artwork are multi - lingual interpretations and
concern with accessibility by different audiences. So with this artwork, the retold myth was carefully
translated in Salish and English.
Cast bronze sculptures are 21 x8 x 6 ft. & 15 x 6 x 4 ft. The concrete mother's tail - 14 feet, $ 135,000.
2 -3. Neototems, Seattle Center, Seattle, Washington, 1995, detail
4 -5. Hickory Dickory Clock, Tokyo, Japan,1996
Children pass the artwork clock daily on their way to school. The artwork was commissioned by the Azabu
• Juban Neighborhood Arts Program, Tokyo, Japan, to represent the American Embassy located in the
neighborhood. Powdercoated aluminum with double -faced clock, 4 feet x 12 inches, $ 10, 000.
6. International Fountain, Seattle Center, Seattle, Washington,1995, detail
I renovated this historic Fountain in collaboration with Wet Design and Nakano, landscape architect. The
stainless steel dome. The fountain is interactive and handicapped accessible.120 ft. and the cost was
$3.4 million.
7. From ONE to Z, Eastern Washington University, Cheney, Washington, 1998, detail
Commissioned by the Washington State Arts Commission, worked with Eastern Washington University
architects to develop an artwork for the campus. The collaboration developed into the artwork, From ONE
to Z a 70 -foot meandering stream which defines the main plaza and its connections to the campus. The
stream, composed of granite and Fraser river rock, is articulated with bronze tokens, stepping stones, that
are modeled after small clay counters taken from 'Sumerian history (8000 -3000 BC) which reveals them to
be the connection between the invention of abstract counting and cuneiform writing. The tokens: 24 -30
inches. $ 82,000 -plus part of larger construction budget.
8. From ONE to Z, Eastern Washington University, Cheney, Washington,1998, same as above
9. From ONE to Z, Eastern Washington University , Cheney, Washington, 1998, detail
10. Aviary, Socrates Sculpture Park, New York, 1990, detail of installation.
• The cosmic egg serves as aviary and sanctuary for birds an small animals. 7 x 10 feet, barbed wire, steel,
marsh grasses. Commissiond by Socrates Sculpture Park, $ 10,000.
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Gloria Bornstein Resume Page 1
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2333 12th Avenue East, Seattle, WA 98102 (206)323 -5217 FX 860 -9466, gbornst704 @aol.com
Recent Public Art Commissions (detailed description on page 2,3)
2000 Childrens Theater Baby Whale Tail - Neototems (with Seattle Center, Nakano Landsc. Archit.)
1999 Speed the - Plow, Puyallup Rail Station, Puyallup, WA (with Men + Pardini Architects) •
1998 From One to Z, Eastern Washington University, Cheney, WA ( with ALSC Architects)
1996 Hickory Dickory Clock, (Peace Clock), Tokyo, Japan (with Azabu Juban Neighborhood Arts)
1995 International Fountain & Plaza, Seattle Center, Seattle, WA (with Nakano Landscape Archit.)
1995 Neototems, Seattle Center, Seattle, WA (with Nakano Landscape Architects)
1995 Vanishing Species, Seattle, WA (Seattle Arts Commission Portable Works)
1992 Chatter, Seattle, WA (Seattle Arts Commission Portable Works)
1991 Shore Viewpoints and Voice Library, Seattle, WA (Seattle Arts Commission)
1990 Banishing the Poets, New York (Socrates Sculpture Park)
Selected One Person Exhibitions
1999 Gloria Bornstein, Retelling 1975 -1998, Bellevue Art Museum, Bellevue, WA
1994 Chatter, Henry Gallery, University of Washington, Seattle
1990 Playing Alive , Fuller- Elwood Gallery, Seattle
1989 Works in Progress, Fuller- Elwood Gallery, Seattle
1988 Gloria Bornstein, Fuller- Elwood Gallery, Seattle
1987 Columns: A Narration of Past & Current Events with Characters Dislodged, Seattle Pacific
University, Seattle
1977 Extrapolations, and /or Gallery, Seattle
1975 Useless Tools, Windows, and /or Gallery, Seattle, and Whitman College, Walla Walla, WA
Selected Group Exhibitions
1997 Celebrities: Figures of Worship, Fame, Fortune, Heroism, & Infamy, Bumbershoot, Seattle
1995 Latent August: The Legacy of Hiroshima and Nagasaki, National Historical Society, SF
Agents of Change; New Views of Northwest Women, Washington State Convention Center,
Seattle
Visions of Seattle, Seattle Center, Seattle
1994 Public Interventions, Institute for Contemporary Art, Boston, MA
1992 Yokohama International Public Art Fair, Yokohama, Japan
Washington: Voices in Contemporary Sculpture, Bellevue Art Museum, Bellevue, WA
1991 In Public: Seattle, Security Pacific Gallery, Seattlle
Interface/Innerface: Interpreting the Real, Security Pacific Gallery, Seattle
1990 Centrum Monotypes, Western Gallery, Western Washington University, Bellingham, WA
Drawing Power , Western Gallery, Western Washington University, Bellingham, WA
1989 First Impressions: Northwest Monotypes, Seattle Art Museum and The Art Gym, Marylhurst
College, Marylhurst, Oregon
1988 Centrum Foundation Prints, Cheney Cowles Museum, Spokane
Objets d' Art, Bumbershoot Festival, Seattle
1987 Seattle Sculpture Bumberbienniel, Bumbershoot Arts Festival, Seattle
National Sculpture Exhibition, Foster -White Gallery, Seattle
1986 Artists with a Public Voice, 911 Contemporary Arts and Resource Center, Seattle
1985 Images of Seattle, Jackson Street Gallery, Seattle
1982 Art & Social Politics, The Art Gym, Marylhurst College, Marylhurst, Oregon
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Gloria Bornstein Resume Page 3
Hickory Dickory Clock (Peace Clock), Tokyo, Japan
A collaboration with the Azabu Juban Neighborhood Arts Program. The artwork was selected to represent
the American embassy located in the neighborhood. It is one of fifteen permanent artworks created by
artists from around the world who also represent their embassies. The Pennsylvania Longclock is meant
to be enjoyed by the children walking daily to school.
Shore Viewpoints, Seattle, WA
This was my first work to emphasize place - Seattle's waterfront, which over the previous decade had been
changing from a workplace to a tourist site. An installation of six pseudo - official silkscreened signs, made
in collaboration with Donald Fels as part of the Seattle Arts Commission's In Public: Seattle project, Shore
Viewpoints appeared on the city's central waterfront next to pre - existing historical markers, questioning
and contradicting the official voice. A second set of signs called attention to the waterfront park, which
lacked amenities and was occupied by homeless people, many of them Native Americans whose
ancestors lived along the tidal flats taken from them 180 years ago. The subtext appeared in a six- channel
voice mail system, offering information on who lived here in the past, is living here now, and will live here in
the future. Hundreds of citizens called and left their responses.
Banishing the Poets, Socrates Sculpture Park, New York
The cosmic egg wrapped in barbed wire calls attention to censorship of creativity in the arts & ourselves.
Permutations on the I Ching, Seattle, WA
Commissioned by the Alexis Hotel for the restaurant, Four cast handmade Japanese paper window
panels.
E Pluribus Unum, Seattle, WA
Sponsored by 911 Contemperary Arts Center, Five artists were matched with five homeowners to make
art on the lawns.
Green River Trilogy: Porno - Graphos, Run From a Man Named Climax, Maids in a Row
Three installations call attention to the victims of the Green River serial murders who were teen -age
runaways stereotyped as prostitutes. Shown at Printed Matter, New York and 911, Seattle.
Soupkitchenwork, Seattle, WA
Commissioned by the Seattle Arts Commission and funded by WSAC, the performance explores the
plight of homeless senior residents in the Cascade neighborhood.
Selected Documentation
Gloria Bornstein, Retelling, 1975 -1998, Bellevue Art Museum catalogue, 1999
Gloria Bornstein: Retelling, Megan Blanton, The Daily of the University of Washington, May 6, 1999,
Vol 106 Issue 127
Gloria Bornstein: In and Out of Public Space, Ron Glowen, Art Access, May 1999
Gloria Bornstein's "Retelling" demonstrates her forceful range, Regina Hackett, Seattle
Post- Intelligencer, May 7, 1999
Bornstein a provocative, intelligent artist, Robin Updike, The Seattle Times, April 29, 1999
Commissions, Ariane Fehrenkamp, Sculpture Magazine, November, Vol.•17 No. 9, 1998
Lure of the Local, Senses of Place in a Multi - Cultural Society, Lucy Lippard, The New Press,
1997
Arts play a key role in face lift for Seattle, John Boylan, Seattle Post- Intelligencer, 1995
Washington Voices In Contemperary Sculpture Catalogue, Bellevue Art Museum, 1995
Mapping the Terrain: New Genre Art, edited by Suzanne Lacy, Bay Press, 1995
Gloria Bornstein Resume Page 4
• Education
1979 MA Psychology, Antioch University
1976 Visual Arts, University of California, San Diego
1958 BA in Art and Education, Hunter College, New York
Teaching and Related Experience
1991-1999 Lecturer, Public Art, University of Washington, Seattle
1986 -1988 Arts in Education Program, Artist - in- Residence, Washington Arts Commission
1989-1980 Co- Director of the Allied Arts Program, Interdisciplinary Performance Art Program, Cornish
College of the Arts, Seattle h
1980 Instructor, Visual Performance Art, Cornish College of the Arts, Seattle
1978-1981 Video Producer, Co -Owner of Intermedia
1980 COCA, Board of Directors
1976 -1978 and /or Gallery, Board of Directors, Seattle
1973 -1974 Bush Middle School Art Program, Seattle
Collections
Microsoft, Redmond, WA
Ellen Dial, Perkins Coie, Seattle G & H Properties, Bellevue, WA
Mia McEldowney, Seattle Seattle Family Institute, Seattle
Anne Gerber, Seattle Anne Focke, Seattle
Robet Strini, Virginia Michael McCafferty, Seattle
Colleen Crowley, Seattle Linda Wachtmeister, Virginia
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Catherine Hillenbrand, Seattle Anthony l o, Seattle
Margaret Minnick, Seattle Irene Mahler, Seattle
Richards and Kinerk, Seattle Helen and Max Gurvich, Seattle
King County Arts Commission Collection , Seattle Kelby Fletcher, Seattle
Washington State University, Elwood Print Collection, Pullman, WA
Seattle Arts Commission Portable Works Collection, Seattle
Seattle Arts Commission Portable Works Collection, Seattle
Awards
1998 Sound Transit Artist Roster, Seattle, WA
1998 Seattle Arts Commission Artist Roster, Seattle, WA
1997 Washington State Arts Commission, % For Art Award, WA
1995 Seattle Artists Award, Seattle Arts Commission, Seattle, WA
1993 Seattle Artists Award, Seattle Arts Commission, Seattle, WA
1991 In Public Award, Seattle Arts Commission, Seattle, WA
1990 Artist Trust Visual Arts Award, Seattle, WA
1990 Art Matters Award, New York
1989 Seattle Center Design Team Award, Seattle, WA
1980 Washington State Arts Commission, Film Award, WA
1979 Neighborhood Arts Award, Seattle Arts Commission, Seattle, WA
1977 Northwest Projects Award, and /or Gallery, Seattle, WA