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art weekend
Jan. 8th, 2007 07:29 amSaturday: Wim's birthday. Brunch at the Space Needle's rotating restaurant, which is quite good now, with Wim's dad and his wife. Brunch costs a bit over $40 a plate, but that gets you a (shared) huge lovely appetizer tray including prosciutto, fruit, and crab dip; largish breakfast- or lunch-like entree; and excellent dessert. Also, if you're the birthday boy, you get a bonus dessert, which if you can't have dairy is three flavors of sorbet on a goblet of dry ice with hot water to refresh the vapor when it subsides. The draw is the view, of course, but the service was great and so was the food. Also, barrage of presents.
We went to the symphony on quasi-present-status tickets on Saturday night. I liked the Dvorak piece (Serenade for Strings in E Major, Op. 22) very much, and Elgar's Enigma Variations pretty well. Wim also liked Samuel Barber's Cello Concerto, Op. 22, which had a guest cellist named Mark Kosower, but I disliked the screechily dissonant parts, of which there were many. I can see why it's an interesting thing for a cellist to play, at least, though when I in the audience think the score must read "giant mess goes here" at several points I am not best pleased.
Sunday: Went to the Eric Carle exhibit at the Tacoma Art Museum with![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
rubricity and simonelo. Lots of the original collage artwork from a wide variety of his books, one huge iconic Very Hungry Caterpillar, and a video that was largely inaudible but in places showed him cutting and gluing his handmade tissue papers to form pictures. I liked that they had lots of his children's books in one area, since there were many I had never seen.
The next exhibit in the museum was of pictures telling a story, which was neat because they'd provided a book for visitors to write what they thought the story was for any of them, and previous stories were posted by the paintings. One ninth-grade boy really appeared to have read the Gor books recently, eek.
Trimpin's Conloninpurple was neat but the participatory part didn't seem to be working. We also all agreed that it would have been nice if some parts of the museum had not been able to hear the nifty clunking tunes.
My favorite part of the whole museum was actually the exhibit of Aminah Brenda Lynn Robinson's Symphonic Poem, which had a huge variety of media used to illustrate her childhood and her travels -- many huge, bumpy quilts laid out on tables and embellished with thousands of buttons and embroidery floss used six-stranded; a chair that she'd built up over years that they had to knock out her door frame to get out of the house; paint-and-fabric collage portraits; tall wooden organ-pipes painted all over, with music placed inside in some way I couldn't see, and crowned with wrought iron; musical scores written in playable but highly eccentric scripts. The best part was the plainer drawings. Some of them were pretty straightforward, nothing out of the ordinary for good drawings, but some of them were larger-than-life ink paintings of people from her neighborhood, beautiful black women and men with big bony hands and feet, and those were amazing. No one seems to have pictures of them on the web; I can only find highly colored ones and it was the shape of the lines that I liked so much.
We went to the symphony on quasi-present-status tickets on Saturday night. I liked the Dvorak piece (Serenade for Strings in E Major, Op. 22) very much, and Elgar's Enigma Variations pretty well. Wim also liked Samuel Barber's Cello Concerto, Op. 22, which had a guest cellist named Mark Kosower, but I disliked the screechily dissonant parts, of which there were many. I can see why it's an interesting thing for a cellist to play, at least, though when I in the audience think the score must read "giant mess goes here" at several points I am not best pleased.
Sunday: Went to the Eric Carle exhibit at the Tacoma Art Museum with
rubricity and simonelo. Lots of the original collage artwork from a wide variety of his books, one huge iconic Very Hungry Caterpillar, and a video that was largely inaudible but in places showed him cutting and gluing his handmade tissue papers to form pictures. I liked that they had lots of his children's books in one area, since there were many I had never seen.The next exhibit in the museum was of pictures telling a story, which was neat because they'd provided a book for visitors to write what they thought the story was for any of them, and previous stories were posted by the paintings. One ninth-grade boy really appeared to have read the Gor books recently, eek.
Trimpin's Conloninpurple was neat but the participatory part didn't seem to be working. We also all agreed that it would have been nice if some parts of the museum had not been able to hear the nifty clunking tunes.
My favorite part of the whole museum was actually the exhibit of Aminah Brenda Lynn Robinson's Symphonic Poem, which had a huge variety of media used to illustrate her childhood and her travels -- many huge, bumpy quilts laid out on tables and embellished with thousands of buttons and embroidery floss used six-stranded; a chair that she'd built up over years that they had to knock out her door frame to get out of the house; paint-and-fabric collage portraits; tall wooden organ-pipes painted all over, with music placed inside in some way I couldn't see, and crowned with wrought iron; musical scores written in playable but highly eccentric scripts. The best part was the plainer drawings. Some of them were pretty straightforward, nothing out of the ordinary for good drawings, but some of them were larger-than-life ink paintings of people from her neighborhood, beautiful black women and men with big bony hands and feet, and those were amazing. No one seems to have pictures of them on the web; I can only find highly colored ones and it was the shape of the lines that I liked so much.
