BIMA

In the years that we have been together, Tim and I have taken a number of ferry trips to a variety of destinations — Vashon Island, Friday Harbor, Bremerton, Bainbridge Island.

Personally, I like to space out my trips back to the same place, because usually there's not anything new or different to see. But when Tim suggested that we take the ferry from downtown Seattle over to Bainbridge Island to visit the new Museum of Art, I was all for it.

You can't miss it. The location is ideal. You'd have to go out of your way to not walk past it on the way from the ferry dock to the downtown area.

Unexpectedly, admission is free (though I did make a donation as we left). Also, the museum has a very liberal policy on photography. When I inquired, they said I was free to take pictures of anything and everything, so long as I did not use flash.

The museum's focus is more on arts and crafts, kind of like the Bellevue Art Museum, rather than fine art like the Seattle Art Museum. Although we have a membership at the SAM and enjoy going there, some of the exhibits there don't engage me. Even though I have a slightly better understanding of Modern Art from taking art history while I was at Shoreline Community College, it's not something I generally find myself liking.

At BIMA, however, even some of the more abstract pieces felt more accessible to me. Perhaps because there was some resemblance to recognizable forms.

Petroglyphs by Glenda Guilmet

Some were more abstract but still evocative.

Tsunami by Tracy Lang

Generally, I guess I have to say that I have a greater appreciation for art in which I can see a mastery of technique necessary to create the work in question.

Ms. Susuma II by Shawn Nordfors

Contemporary Man by Shawn Nordfors

by Heikki Seppa

by Heikki Seppa

by Heikki Seppa

Shilshole by Alfredo Arreguin

This was in a hallway upstairs. I did not see a card with the artist's name.

Also in a hallway without a card. This appealed to the quilter in me.

Several pieces had a humorous aspect, sometimes with an edge, with additional meaning communicated through the work's title.

Pleaser by Sue Roberts

 

Safe Risk by Sue Roberts

Armchair Adventure by Sue Roberts

Beginner by Karen Buhler

New to the Neighborhood by Karen Buhler

Practice by Karen Buhler

The Power of Self Esteem by Eileen Sorg

Some were just fun.

Out on a Limb by Debbie Fecher-Gramstad

SeaQuester by Linda Jarvis

Signum by David Eisenhour

Spring by David Eisenhour

The gallery on the second flour was devoted to more sculptures by David Eisenhour. These seemed to derive their inspiration from organic forms found in the sea.

Old Growth

Earth Stinger

Progression II

Endless Forms

Orchid

Ibex

Hinge

Shell Game

At the SAM

Today we went to see the exhibit of Peruvian art at the Seattle Art Museum. It was extensive and quite impressive. Photography is generally not allowed in these special exhibitions, and anyway, I had forgotten my camera.

After we were through touring the Peru exhibit, we wandered through some of the other galleries on the fourth and third floors. Most of the items we had seen before, but there were a few new acquisitions.

On the third floor, there was a small gallery with some recent acquisitions of modern pieces that draw on aboriginal influences. They may have been included in an exhibit we saw last year, but I can't say for sure.

However, one piece really caught my eye. I took two pictures of it with my iTouch, one of the whole piece and one close-up. The photo of the whole painting did not turn out well — it's a little blurry.

But the other turned out well enough.

Unfortunately, I neglected to make a note of the artist and when it was painted, and this particular piece is not featured on the SAM website.

The entire painting is about 4 feet tall by 8 feet wide, and covered with these elongated teardrop shapes. I can't imagine how long it took to create it. When you see the whole of it, the way the small dabs of white coalesce into these flowing waves is amazing. There is a sense of movement, but it is smooth and soothing, even meditative.

Carkeek Park

Over the weekend, Tim and I had occasion to visit Carkeek Park a couple of times.

The first time, I didn't have my camera, necessitating a return trip on Sunday.

Tim likes to walk the trails there, so he's there more often. But there were some new features since the last time.

This one, he said he thought he had seen before.

Near several of the installations we spotted plaques with QR codes indicating that the installations were part of a CoCA exhibit. Perusing their website, I found a link featuring descriptions of the pieces, and also learned that this is the fifth collection of pieces in the Heaven and Earth series.

Tim saw this one on a trail down from the northern perimeter of the park. I had driven down to the parking lot near the beach, so he took a few pictures with his camera phone.

The piece next to the beach parking lot reminded me of the kinetic sculpture we saw on Orcas Island. You can see a short video here.

Reading the description of "The Lau Event", I wonder how much exposure to the weather has affected it.

"Tree Pods" reminded me of the public art along Linden Avenue; both repurposed/recycled/upcycled signage to fun effect.

These two are by the same group. The descriptive text mentions a possible third to appear on the beach. The first one made me think of a porcupine, and the second one I call "The Wolf in the Woods." We spotted the marker, which directed us 200 yards up the trail. At just about the point where we might have considered turning back, Tim looked to his left and there it was.

This last one is actually situated next to the Environmental Learning Center at the entrance to the park. I spotted it on the way in, but it was the last one we stopped to look at. At first, I thought it was a yarn bombing.

But it turned out to be more. . . .

Much more.

Weather and time permitting, I'd like to go back next weekend with a map and find the rest of the pieces.