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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. • Gloria Bornstein Resume Page 1 • . _ 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 • • 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 • • 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