Someone needs to tell todays young graphic designers that masturbation is just fine- healthy, harmless, and fun- if done in PRIVATE.

This card, however, reminded me of bad conceptual art from the 70's- kind of a third rate Ruscha copy, although at least back then, you could appreciate the artists skill at applying Presstype in straight lines- now, with photoshop, there is no skill involved at all.
Aside from the meaningless and uninformative cover, which appears to be a brochure for Astroturf, inside we have several garish color photos showing part of something.
Back in the 70's, at least these would have been ornamented with pithy or ironic witticisms, ala Jenny Holzer, possibly in some kitschy scrolling text.
After much study, thrown off by the sunsets and beaches (Condom ads, perhaps?) we do realize the last photo actually shows a sculpture- rather poorly framed, somewhat askew, but a sculpture nonetheless- Why, its Ginny Wright's latest lawn ornament- the big metal tree by Roxy Epoxy, or whatever the name of the flavor of the week artist in Chelsea is.
Not a bad piece- somewhat "conceptual", as in Dennis Oppenheim style napkin drawing sent to an expensive fabricator, kind of Missisipian in its proportions- you know, a mile wide and an inch deep- but pleasing to look at anyway.

Then, to explain the brochure, we get a brochure- you gotta love art that is so well thought out it needs a brochure to explain it, especially graphic art- isnt that supposed to be about visual communication?

The second brochure is seemingly only composed of cut and paste corporate logos- perhaps our graphic designer is paying homage to greats of the past?

But look again- there, in at least 4 point type, is a footnote to the explanatory brochure to the brochure, telling the titles, we hope, of what the heck we were seeing in the other one.

And so we learn that the vast majority of what is important to tell us is that someday, Ginny might donate the tree to the park. It is, after all, "promised" kind of like an 8 year old Indian girl.

And that the color photos are 200 feet long?
Well, no, a quick bit of googling tells us that these are actually closeups of the new Teresita Fernandez bridge at the sculpture park- not excerpts from some astrological soul brother kama sutra poster.

Now Fernandez is actually kind of an interesting artist, with her subtle installations and lighting pieces- but commissioning her to do a bridge seems trendy and misguided, to say the least, and the result, although I have yet to see it in person, does not impress- the latest thing in public art is all expense paid trips to a German Glass workshop, where your wildest photoshop dreams are translated into stunning glass panels by teams of skilled 10th generation master craftsmen who drink lots of beer.
All around the country, we see artworks featuring this product- it has continental cache, old world craftsmanship, and the inherent sexiness of glass.
Unfortunately, like any other medium, its only as good as the artist who wields it, and slapping this sexy stuff on a mundane, traffic engineer designed bridge, in place of chainlink fence, has about as much overall effect as gluing up playboy pinups on the EMP- maybe less, as the nudies on the EMP has a certain ironic flair.

Who makes these decisions? Who hires these graphic designers, then, like the irresponsible dog owner, allows them to make their mess where they will?
Who can remember who Ginny Wright's latest lapdog of a curator is, anyway?
While the Bagman does whatever it is the Bagman does (one would hope he is swimming in his pool of money, like Scrooge Mcduck, but alas, he is probably too conservative for that) his wife continues to fund, and then manipulate, SAM, in mysterious ways.

I have been watching SAM show last years "New York Sensation", in the abbreviated, travelling show, for almost 40 years now- some things, as they say, never change.

Needless to say, I will be at the opening, conveniently scheduled in January (what better month for an outdoor event in Seattle? Somebody is really on the ball there) WITH BELLS ON- I just cant wait to see another C list Richard Serra, and who knows what other treasures?
Perhaps, instead of a yard sale, Ms. Wright will bless us with some of her other unwanted works- who can forget possibly the worst Di Suvero ever, the one with her childrens names inscribed on it?

Okay, I jest, a bit. I do appreciate all the interest and money Virgina Wright has poured into the northwest art scene- I just feel like all too often, it is spent on the worst of what used to be trendy in NYC, or whoever was the "IT GIRL" at Basel- and that SAM has a history of doing nothing original, inspiring, or even smart- I do like the camels, however.

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Of course, I will go see the damn thing.
I dont doubt there will be an interesting sculpture or two.
But I also suspect my general opinion of SAM's modus operandi, based on long years of observation, will be mostly correct.

Anyway, I was mostly responding to the card, not the actual sculpture park.

I am sure it will raise my ire soon enough.

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On that list you will find "not letting the truth get in the way of telling a good story." It's right next door to people who look back at an event and say "well, that's YOUR reality." Which is nestled against the student whose protest sign read "clarity is fascism."

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Victoria

If so, I salute you.

My conversations, however, would be extremely boring if I adhered to those rules.

So as far as I am concerned, whether you are tired of hearing it or not, it is a truthful reflection on the reality of human discourse.

The real question, of course, is, Have you seen this brochure? And if so, and you disagree with me about it, please discuss that, rather than sniping at my writing style, which, trite though it may be, is mine, and I have gotten rather fond of it over the years.

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The suggestion that the park functions at some level as a dumping ground for Virginia Wright's collection of monumental sculpture -- with some pieces being more memorable than others -- isn't completely off-base. But so what? Can you think of a better use for a contaminated strip of urban waterfront or a more clever way to finance its reclamation?

I am going to check the place out later this week and give you a full report. Please note, however, that it will take at least several years for the plantings to mature and for the vision of the architects to be fully realized. But we can marvel (or yawn) at the sculpture in the meantime.

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Jim Demetre

Stellar, it aint.

Both Jim and Regina seem to take the attitude, all too common in Seattle, that mediocrity is what we must expect, what we deserve, and all we shall ever get.

When Jill Medvedow was here in Seattle, she couldnt get arrested- and now, as the director of ICA, in Boston, she is doing great things, because she doesnt just say "thank you". She actually exercises directorial and curatorial initiative, something virtually unseen at SAM for lo these many years.

There are great museums and exhibition spaces all over the world who do more for less, because they do not allow the vanity, or whims, of their wealthy donors to control their agenda.
And then, there are plenty of places like SAM, who get run ragged by rich people.

I dont think there is anything wrong with asking for more- Up here in Bellingham, the motto is "the City of Subdued Expectations" but it seems sometimes as if Seattle is a city of NO expectations.

As for a better use for the "contaminated strip of urban waterfront"- how about artist studios? I had my studio a block or two from there for years- until certain developers who shall go unnamed, but some of them have names that rhyme with "Night" decided to build million dollar condos there.
Harbor Steps, dont step on me.

No, its not like this was a piece of wasteland nobody wanted- the sculpture park is there precisely because any land within a few blocks of the Public Market, with mountain and Sound views, in a very liveable urban neighborhood, is immensely desirable.

As I said, I will go see the park. I will look at the actual sculptures. I will look at the overpriced architecture, and the landscaping.
And, no doubt, I will have more, cynical, snide remarks to make.

Because I actually believe that the art scene in Seattle could be a LOT better than it is. I like Seattle. I really do. And, I like art. I just have little patience for pompous baloney. ( I was gonna use another "B" word, but I knew the net nanny would bleep me)

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Just as I never let the truth get in the way of a good story, why should I base my opinions on actual observations?

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Actual sculpture, made by real living people who dont have to be propped up, or moved into the room with a handtruck.

Changing exhibitions.

Showing new work by young artists.

In other words, RISK, ACTIVITY, CHANGE, NEW IDEAS.
Not to mention art by women.

And at a fraction of the cost, of course.

But instead we get art as filtered thru curators who see Seattle as a resume padder before they get back to "the real world" ie. NYC.

We get "modern" art from Calder, Elsworth Kelly, and a few other old white guys, who did their best work before I was born, and I am no spring chicken, believe me.

Wake me up when they commission David Hammons.

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Cynicisim Provincial? Call me Eddie Albert then, cause I live in Hooterville.

Being skeptical of the emperors new clothes has a healthy history, traceable back to every major city, civilisation, and culture.

I stand on the shoulders of great men- Oscar Wilde, H.L Mencken, Hunter Thompson and many more. Not that I am in the same company, merely that I respect the tradition.

My cynicism is based on knowing all the players for many years- aside from John Shirley, I went to school with all the major billionaires of the New Seattle, and have watched that particular batch of sausage being made since the mid 60's.

My job does not require me to be a civic booster.

I calls em as I sees em.

In most cities, there is an actual art press far more cynical than I- oh, for a magazine like Coagula here in the northwest.
http://www.coagula.com/

"Most art sucks"- now there is a headline I can get behind.

You guys take yourself too seriously, thats what I think.

And no one aside from Jim has made a single comment about the intial subject of my post- the brochure, either defending it or agreeing with me.

No one has been willing to defend the actual sculptures much either, aside from calling them "stellar".

How about that Serra? Doesnt wow me- it aint no "Torqued Ellipse".
And the Teresita Fernandez bridge?
Who will rally to its defense?

Instead, we are admonished to thank our wealthy donors, for not inflicting their names on us?

If somebody around here is provincial, it aint me.

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Kinda like Peter Max, though.

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Kinda like Peter Max, though.

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Regina, I do want to point out that if you were to go back in time, pre internet and high speed data and all this instant thought made public domain, that alot of our favorite artists struggled.. were depressed.. cynical.. angry.. empoverished.. misunderstood.. And if they had the misfortune of being able to open their big mouths at will for all the world to hear.. such as we do today, I assure you that nay sayers like Big Mouth, or myself would seem mild mannered in comparrison to the likes of a drunken Pollock rant about his peers. Don't judge us for our different opinion, or because we are not professional writers as capable of eloquantly expressing our opinions in writing.

I don't know about big mouth, but I struggle with it every day.. In this day and age, saying what you feel can have drastic consequences.. A little guy like me can't afford to piss off the few people who actually buy and sell or write about art. I risk damaging career when I open my mouth and say how I feel.. but I do it because I am true to myself and is the right thing to do. That takes courage.. and despite the fact I havn't made a 20 year career witing about art, I've spent almost as long eating and breathing art and making it, so there is some validity to my criticisms and opinions even if I can't express them as well. So don't be so quick to judge or blow us off as naysayers, or judge our charicter because of our opinion.

The internet has indeed allowed me to do it from the comfort of my own home, well, office anyway, as opposed to shouting over a loud crowd at whatever the current "art bar" is, but I have been the sh#t disturber I am now for going on 6 decades now, and I am not going to change.

You can blame part of it, I suppose, on my long association with all the wrong types in Seattle- next year will make 30 years I have been hanging out with Larry Reid, more since I first met Charlie Krafft, and bless his poor departed soul, about the same since I first met Jesse Bernstein.

In my defense, I will say that not once have I urinated in the fireplace of a rich art collector.

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"Don't judge us for our different opinion, or because we are not professional writers as capable of eloquantly expressing our opinions in writing."

Jackson Pollock was ill with all that behavior, alcoholic and going down. Whatever he said, except in those moments of clarity he rarely had outside his studio late in his life, had little to do with a lively back and forth.

I'm not judging Big Mouth (ok, yes I am), but what I'm trying to do is have a discussion here. I think Big Mouth likes to see himself type. He's not as adorable as he thinks he is. Is that savage to point out? Assume we're all in the same room. Does anybody want to listen to that? Prefabricated opinions? A point of view that he puts on, like a coat from a cloakroom? I realize that looking down on the enterprise of others doesn't make anybody cool, and I'll try to do better.

I write, or type, as it may be, strictly for my own entertainment. I am under no obligation to be fair and balanced, or even nice.
Nobody has to like my writing style, but me.

I think that the internet does make our comments come out a bit differently than when we are in the same room- the physical isolation probably allows one to be a bit more rude than you would be in person, and of course, without the physical cues of facial expression, body language, and the feedback from the other people in a real conversation, I am sure I say things a bit more offensively than I would in person.

But I distinctly remember being in the same room with Regina on many occasions, and saying equally cynical things about SAM.

Provincial Cynic that I am, I learned at the feet of masters- I have been proud to call Clair Colquitt my friend since 1970, and while he has mellowed a bit in the last few years, he has been making snarky cynical remarks about the Seattle Art Scene, such as it is, as long as I have known him, also in the same room with Regina on numerous occasions.
It was he who coined the phrase, when discussing a controversy in the Seattle art scene "a tempest in a commode"- no doubt soon to make one of Victoria's lists.
And then, my true mentor when it comes to cynicism- Howard Kottler. Howard said truly terrible, and amusing things, on a frequent basis, and I miss him greatly. He would not hesitate to let loose in the presence of the very collectors- I am sure he did not hold back, when at the Monsons house, from criticism and cynicism. Were he alive today, the Shirleys would no doubt be subjected to some of his snarkiness while dining off his Noritaki china.

So, no, I feel no shame whatsoever at the nature of my comments.

The Seattle Art Museum has, for the 40 years I have been paying attention, been an extremely conservative, unadventurous institution, which has made a series of disappointing decisions in terms of how to allocate its resources.
It has originated very few shows, and most of those it does originate are just not very exciting.

The decision to build its "new" museum downtown, where and how it did, and the oversite and program given to the trendy but uninterested architects they chose, resulted in one of the worst spaces to show art I have ever been in.
The staircase, which seems to take up more than half the square footage, is indeed magnificent. And irrelevant.
I am not alone in my criticism of this building- architecture critics mostly agree with me- as do many Seattle artists and most curators who have tried to mount shows there.

I think this is indicative of how the Sculpture park was also approached- the desperate need to prove that Seattle is indeed "world class" by buying approval.

We end up with the second and third level works by national names.

I like Richard Serra as an artist. However, I dont think that what Seattle needs is to give him more money and another opportunity to show his work. This man gets MORE MONEY, and the VERY BEST OPPORTUNITIES of any artist in the world.
For the same dollar amount, or space allocation, we could have many sculptures by a group of young exciting artists.
But I think there is a very real need on some peoples part to prove Seattle is a serious contender, by having a Serra, and a Calder, and so on.
This is not about sculpture- its about self esteem.

Yep, Socrates is a whole different thing- instead of being a reclaimed industrial space where large sculpture is shown in an outdoor space, its a... well, its a reclaimed industrial space where sculpture is shown in an outdoor space.

Tell me why the difference is anything but curatorial decisions, based on issues of status and new money wanting to act like old money- lay it out for me, in succinct and logical curatorial speak- cause I sure dont get it.

Yes, I bullsh#t a lot, but I am sincerely interested in talking about art, specifically art in Seattle. And I dont think, aside from criticising my tone and polity, you have addressed any of my underlying points.

My opinions are not "prefabricated"- they are based on a lifetime of making art, looking at art, and being involved in many ways in the art scene, in Seattle and elsewhere.
I felt the exact same way about that hideous Heizer piece, "Going, Going, Gone", and I said so at the time it was installed- and I was certainly not alone then in my cynicism.

I will now go back to compiling my list of reasons to be thankful to Microsoft Millionaires- but I warn you, you probably wont like that either.

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Stinger RULES, crazypants. Ha! I love the arguments this park is going to cause. And I know you like that Roxy Paine piece, but I have to say is is the most heavy-handed and tedious piece of stagecraft I've seen in a while. More on why Stinger rules later, because I've got to go and write about all this stuff on deadline now. We shall duke it out -- Paine on Smith -- soon ...

Roxy Paine. Have you seen a lot of Roxy? Just asking. I find his silver tree the last word in burning bushes and a fine rejoiner to the Bladerunner sensibility.

As happy as I am that this place exists in lieu of toxic soil or shoddy high-rise condominiums, there was something decidedly old-fashioned about the Olympic Sculpture Park which made me contemplate the lost opportunities. Of course, some of the works are permanent, others are on loan, and there is much space for future commissions. But the spirit of the place did not seem like a great departure from what we have come to expect from SAM. A few significant pieces by major artists were carefully placed in the landscape, surrounded by too many pieces of discarded 'plop' art. Where, for example, are the pieces that address the curious history of the site?

On the guided tour, our first stop was the Neukom Vivarium, Mark Dion's giant nurse-log and forest floor installed in a simulated (and actual) greenhouse/botany lab. It was a clever enough exploration of the relationship between nature and science and may have suggested an analogous Yeatsian relationship between art and interpretation, but for some reason it did not really work in the context of what is essentially a recreational setting. Perhaps it would have worked better at a University museum like the Henry.

Matthew Kangas was in my tour group and he asked the question I had not thought of and would probably have been too timid to ask: "Were you influenced at all by Buster Simpson's nurse-log at the Oregon State Convention Center in Portland? After an awkward moment, Dion confessed that he was not familiar with Simpson's piece at the time he conceived of his own, but that he was a great admirer of his.

This led me to ask myself the question, "Where's Buster"? If anyone could manifest the unique natural and cultural history of this place, it would be Simpson and there is certainly no artist more closely associated with the Belltown neighborhood. There has got to be a story behind this omission.

I have long been a fan of Roy McMakin. I admire his use of elegant forms, his deft wit, and visual dynamism. But Love and Loss, his reverse-readable concrete table and bench ensemble, complete with neon sign and crabapple tree, doesn't quite come together on its waterfront perch. I didn't sit on it, but it didn't look very comfortable either.

But some of the plop art worked marvelously. Calder's bright orange Eagle stood out handsomely against the skyline, its form and color hovering at the same elevation as the passing cars on Western Avenue. Viewed from above, with gray rippling waves passing behind its head, di Suvero's swirling metal Schubert Sonata never looked so well-defined. And the Serra, which grounds the whole 9-acre space in its very own valley, both defies and engages the surrounding natural and man-made landscapes with its aberrant curves and uniform sense of movement. But sadly, much of the rest will go unnoticed.

I guess I would have like to have seen more of this engagement between the art and the park, the park and its physical and social context. In other words, I hope that Lead Pencil Studio gets a crack at this place, in lieu of Simpson. Plop art seems so 70s -- does SAM have to be?

I'll have more for you soon, including thoughts on the plantings. Right now, I'm still trying to get warm.

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Jim Demetre

But the elephant in the room everyone seems to be ignoring is "what curation?"

Although I have been searching You-Tube frantically for the cell phone video, I have yet to find any evidence of the meeting at which Lisa Corrin, or somebody else, went to John Shirley and said

" I have been studying every Calder ever made, because the statement I am trying to make requires the delicate counterpoint between Calder Stabile and Roy McMacking Furniture Installation, and when I found the perfect one, I realized YOU owned it- will you give it to me?"

No, the only vids I can find on You-Tube are the ones where Shirley TELLS SAM that this is what they get, and as Tim Gunn says, "Make it Work".

I have also spent time searching the SAM website- maybe its there, but I find no statement of curatorial intent about this sculpture park, no overarching vision, not even any art doublespeak. No actual indication of who was in charge, what decisions they made, or why.

Instead, we just have this jumble of work, with no apparent relationship between the pieces, some of which was willfully and intentionally commissioned, others of which just kinda ended up there.

Did extensive conversations take place between curators and Richard Serra, about what piece would be right for the spot, or did Serra just show up, and run what he brung?
Of course, as an artist, I fight curators all the time, because I think I know better, but I also admit the anarchy and mess that results if the curators let the artist completely have his way, or worse, the collectors just send over whatever they are tired of looking at.

My refrain remains- no curation took place here.

I like Buster Simpsons work-and I agree, a major Buzz-Bomb is overdue in Seattle. If I was emperor of the World, or even curator at SAM, I would be trying to get a Simpson piece down there.
But I cant jump on this "Nurse Log" train- while certainly not a common subject for sculpture, its not like Buster owns the idea- in fact, a Nurse Log show, where nurse logs were sent out to a dozen artists to decorate- that might be a great idea for a fundraiser for SAM- we could use em for little centerpieces on the tables...
I dont think Dion copied Buster. There is plenty of room for other artists to work with trees, living or dead. Dion has been working with similar themes for quite some time.
The whole NurseLogGate thing is a red herring, if you ask me.
Besides, what curator in her right mind would refuse a chance to get cut rate deals on Morgan Pruett clothes?

No, the real question is, is there an actual reason why Roy Mcmakin is the only local guy?

I am not a locals only kinda guy- I see no reason the curatorial mix at the sculpture park has to have any quota system for homeboys and homegirls.

I do think there are more interesting artists locally than Mcmakin, though.

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First, atonality does not equal twelve-tone music. It is crucial to get your terms straight if you're going to throw around a cliche.

Second, being critical is an act of hope, not a gesture of coolness. Apathy is the new cool, Regina. You must stay up on these things.

Third, Stinger is visceral, not theoretical. Meanwhile, high minimalism is theoretical, not visceral. That's why it was a bust—a great, radical idea that didn't work out when it hit audiences of regular people, even though its symbolism was intended to be communal instead of private. Unfortunately, it devolved into little more than misunderstood majestic formalism. Ask yourself what regular folks actually see when they come across the kind of minimalism you're referring to, as opposed to a work like Stinger, which is ultimately a piece of architecture as much as Serra's work is.

And in closing, what's with your assumption that I dislike Serra? You have no idea what I think of him or of his piece in the park; frankly, I'm still figuring out the latter.

Jen, that's about the most intelligent thing I've ever read here!

Now, as to more mundane matters, let me clarify a couple of things. I didn't mean to suggest that Simpson in any way "owns" the nurse-log concept or that Dion stole the idea from him; I was merely trying to illustrate how the circumstances raised the question of Simpson's absence in my mind. I still question its appropriateness at the OSP, however.

Also, I understand the circumstances surrounding the development of this project and was not expecting it to manifest any broad curatorial vision. I just thought someone at SAM might have taken better advantage of the wiggle room to make intelligent choices and add an element of surprise to the mix. I am not sure that
Neukom Vivarium, Love & Loss, or Teresita Fernandez's Seattle Cloud Cover fulfill these expectations.

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Jim Demetre

So, he's more polite, or at least more obtuse, than me. We are related, but in a shirt tail relative, 2nd cousin twice removed kinda way, so he must be from the polite side of the family.

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Jim Demetre

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Jim Demetre

I am going to try to make it down to the opening this weekend, so I can make my opinions officially "post-fabricated", as opposed to pre, but I am wrangling teenagers, as SheilaWhoMustBeObeyed is off having openings of her work in exotic locales.

Hopefully I will be able to witness, with my own two eyes, the majesty that is the Olympus Sculpture Park.

As W.C. Fields said, in a sample on a Van Dyke Parks record- "If there were any Gods that ever lived there, I knew them NOT".

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I will be happy to hear what you, Big Mouth, and all of our other readers have to say about the Olympic Sculpture Park after it opens this weekend.

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Jim Demetre

with regard to the former, i feel moved to suggest that everyone take a moment to set aside any humdrum apathy or even antipathy that may have set in due to pre-hype hype, peer pressure, or personal disposition.

i for one am in awe not only that this project was conceived, but that it is also funded and well on its way to completion.

why? consider.

generally speaking, the steering committee of contemporary culture does not seem to have the same esteem for the value of open spaces that spawned, say, central park. the sheer size of this new land acquisition and the generosity of the pockets that directed its use restore a certain sense of hope in a recommitment to the idea of community health in the form of balancing urban density with open spaces.

in addition, i predict the calibre of the design—speaking of the space in terms akin to an empty museum or a gallery in between shows—will raise (is raising?) seattle's reputation as a city of distinguished note. i wouldn't be surprised to see a few pages set aside for the design in a phaidon book. consider, for example, the picture of the park that appears on the first page of the article posted in last sunday's edition of the new york times. i think the angle (though admittedly exaggerated) underscores the well-conceived impact the space has on the city as a whole.

with regard to the latter concern—the curation of the space—i won't argue for or against the art currently being installed, but it might be important to note that this part of the project is no doubt in its infancy. though the park's cycles will likely be much, much longer than that of a traditional museum or gallery space, i don't doubt that it will have cycles. i leave the tracking of the 'good' and 'bad' elements of these cycles to the critics...

but the project as a whole? what a world-class (and, as regina notes, well-named!!) addition to a soundly deserving public and setting.

To Joel Connelly at the P-I and Sheila Farr at the Seattle Times, I offer a Stephen Crane poem to let them know they're not alone on this earth:

As I have said earlier on this thread, it is difficult to imagine a happier purpose for the excess millions belonging to our city's elite. When I asked Richard Serra about the significance of the park, he spoke in almost utopian terms about its potential impact on the city: "This park is what the art experience is all about; the rest is all trading postage-stamps at art fairs."

Go, readers, and enjoy yourselves!

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Jim Demetre

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utopian terms?

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Of course this is not limited to the art community. And I don't see that it's political--you find suspicion of pleasure on both right and left.

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Victoria

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My bet is that many people in the art community are deeply suspicious of aesthetic pleasure.

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Where was I? Oh yes, pleasure! Even if you regard the park as nothing more than a graveyard for middling modernist sculpture, you have got to find pleasure in the existence of 9 acres of open space in downtown Seattle. I, for one, have long complained that Seattle never gets these things right. During my interview with Eva Lake on Portland’s KPSU last August, I found myself on this familiar subject once again, comparing Portland’s Pearl District favorably against Seattle’s Belltown. While it is too early to tell, the Olympic Sculpture Park may ultimately do much to even the score. What is interesting about this comparison is that it is Seattle, not Portland, which has long wrapped itself the “world class city” mantle.

The miraculous thing about the creation of the park is that such things don’t happen quickly, if ever in Seattle. Look at the ongoing political stalemate over the viaduct and the future of the waterfront. Consider, too, the disaster that is Westlake Park.

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Jim Demetre