Visual Arts

Finland: Designed Environments Humanist philosophy and minimalist aesthetics come together in Finnish design. Nordic Heritage Museum, 3014 N.W. 67th St., Seattle, WA 98117 See website for details. Ongoing through Sunday, July 26, 2015

Read My Pins An exhibition showcasing over 200 political campaign pins from former U.S. Secretary of State Madeleine Albright’s personal collection. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details. Ongoing through Sunday, June 7, 2015

Sam Vernon Hidden characters and imaginary spirits appear through stark black-and-white graphics. Olympic Sculpture Park, 2901 Western Ave., Seattle, WA 98121 Free Ongoing through Sunday, March 6, 2016

Jana Brevick Her first solo exhibition showcases work ranging from jewelry to environmental installations. (Running concurrently is The New Frontier, celebrating the new maker movement in craft and design.) Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 $12 Ongoing through Sunday, August 16, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Monday, April 27, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Monday, April 27, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Monday, April 27, 2015

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Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Monday, April 27, 2015

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Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Monday, April 27, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Monday, April 27, 2015

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George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Monday, April 27, 2015

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Maimouna Guerresi The former M.I.A. Gallery, which often features African art and photography, has moved south and changed its name to match that of its French-Somali expat owner. The old space was one of my favorite stops on the First Thursday Art Walk, but now it’s even closer to the action (and also next door to James Harris, a good neighbor to have). Inaugurating the new digs will be a selection of photos from the Italian/Senegalese Guerresi, whose studio scenes have a highly ritualized, almost theatrical aspect. The images in Light Bodies are less individual portraits of women than idealized renderings of high priestesses (or even saints, though the iconography is mostly Islamic). Colorful robes, chadors, and headdresses are elongated and enlarged, taking an almost architectural form; hats become minarets. Female bodies fall away, or become black voids, suggesting a kind of sublimation from flesh to spirit. The devotion is solemn, mystical, opaque: We’re not sure what specific texts are being read or icons worshipped. Guerresi’s often-looming figures are like peaceful giants from myth, figures removed from our petty, earthly concerns. In interviews, she’s cited the influence of the poet Rumi and Sufi mysticism. “Expressing cosmic beauty heals the diseases of the soul,” says Guerresi, who’ll attend the opening. BRIAN MILLER Mariane Ibrahim Gallery, 608 Second Ave. Free opening reception Monday, April 27, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Monday, April 27, 2015

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Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Monday, April 27, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Monday, April 27, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Monday, April 27, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Monday, April 27, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Tuesday, April 28, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Tuesday, April 28, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Tuesday, April 28, 2015

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Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Tuesday, April 28, 2015

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Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Tuesday, April 28, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Tuesday, April 28, 2015

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George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Tuesday, April 28, 2015

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Maimouna Guerresi The former M.I.A. Gallery, which often features African art and photography, has moved south and changed its name to match that of its French-Somali expat owner. The old space was one of my favorite stops on the First Thursday Art Walk, but now it’s even closer to the action (and also next door to James Harris, a good neighbor to have). Inaugurating the new digs will be a selection of photos from the Italian/Senegalese Guerresi, whose studio scenes have a highly ritualized, almost theatrical aspect. The images in Light Bodies are less individual portraits of women than idealized renderings of high priestesses (or even saints, though the iconography is mostly Islamic). Colorful robes, chadors, and headdresses are elongated and enlarged, taking an almost architectural form; hats become minarets. Female bodies fall away, or become black voids, suggesting a kind of sublimation from flesh to spirit. The devotion is solemn, mystical, opaque: We’re not sure what specific texts are being read or icons worshipped. Guerresi’s often-looming figures are like peaceful giants from myth, figures removed from our petty, earthly concerns. In interviews, she’s cited the influence of the poet Rumi and Sufi mysticism. “Expressing cosmic beauty heals the diseases of the soul,” says Guerresi, who’ll attend the opening. BRIAN MILLER Mariane Ibrahim Gallery, 608 Second Ave. Free opening reception Tuesday, April 28, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Tuesday, April 28, 2015

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Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Tuesday, April 28, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Tuesday, April 28, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Tuesday, April 28, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Tuesday, April 28, 2015

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Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Wednesday, April 29, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Wednesday, April 29, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, April 29, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Wednesday, April 29, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Wednesday, April 29, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Wednesday, April 29, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Wednesday, April 29, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Wednesday, April 29, 2015

• 

Maimouna Guerresi The former M.I.A. Gallery, which often features African art and photography, has moved south and changed its name to match that of its French-Somali expat owner. The old space was one of my favorite stops on the First Thursday Art Walk, but now it’s even closer to the action (and also next door to James Harris, a good neighbor to have). Inaugurating the new digs will be a selection of photos from the Italian/Senegalese Guerresi, whose studio scenes have a highly ritualized, almost theatrical aspect. The images in Light Bodies are less individual portraits of women than idealized renderings of high priestesses (or even saints, though the iconography is mostly Islamic). Colorful robes, chadors, and headdresses are elongated and enlarged, taking an almost architectural form; hats become minarets. Female bodies fall away, or become black voids, suggesting a kind of sublimation from flesh to spirit. The devotion is solemn, mystical, opaque: We’re not sure what specific texts are being read or icons worshipped. Guerresi’s often-looming figures are like peaceful giants from myth, figures removed from our petty, earthly concerns. In interviews, she’s cited the influence of the poet Rumi and Sufi mysticism. “Expressing cosmic beauty heals the diseases of the soul,” says Guerresi, who’ll attend the opening. BRIAN MILLER Mariane Ibrahim Gallery, 608 Second Ave. Free opening reception Wednesday, April 29, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, April 29, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Wednesday, April 29, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Wednesday, April 29, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Wednesday, April 29, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Wednesday, April 29, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Wednesday, April 29, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Thursday, April 30, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Thursday, April 30, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, April 30, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Thursday, April 30, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Thursday, April 30, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Thursday, April 30, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Thursday, April 30, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Thursday, April 30, 2015

• 

Maimouna Guerresi The former M.I.A. Gallery, which often features African art and photography, has moved south and changed its name to match that of its French-Somali expat owner. The old space was one of my favorite stops on the First Thursday Art Walk, but now it’s even closer to the action (and also next door to James Harris, a good neighbor to have). Inaugurating the new digs will be a selection of photos from the Italian/Senegalese Guerresi, whose studio scenes have a highly ritualized, almost theatrical aspect. The images in Light Bodies are less individual portraits of women than idealized renderings of high priestesses (or even saints, though the iconography is mostly Islamic). Colorful robes, chadors, and headdresses are elongated and enlarged, taking an almost architectural form; hats become minarets. Female bodies fall away, or become black voids, suggesting a kind of sublimation from flesh to spirit. The devotion is solemn, mystical, opaque: We’re not sure what specific texts are being read or icons worshipped. Guerresi’s often-looming figures are like peaceful giants from myth, figures removed from our petty, earthly concerns. In interviews, she’s cited the influence of the poet Rumi and Sufi mysticism. “Expressing cosmic beauty heals the diseases of the soul,” says Guerresi, who’ll attend the opening. BRIAN MILLER Mariane Ibrahim Gallery, 608 Second Ave. Free opening reception Thursday, April 30, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, April 30, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Thursday, April 30, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Thursday, April 30, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Thursday, April 30, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Thursday, April 30, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Thursday, April 30, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Friday, May 1, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Friday, May 1, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 1, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Friday, May 1, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Friday, May 1, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Friday, May 1, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Friday, May 1, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Friday, May 1, 2015

• 

Maimouna Guerresi The former M.I.A. Gallery, which often features African art and photography, has moved south and changed its name to match that of its French-Somali expat owner. The old space was one of my favorite stops on the First Thursday Art Walk, but now it’s even closer to the action (and also next door to James Harris, a good neighbor to have). Inaugurating the new digs will be a selection of photos from the Italian/Senegalese Guerresi, whose studio scenes have a highly ritualized, almost theatrical aspect. The images in Light Bodies are less individual portraits of women than idealized renderings of high priestesses (or even saints, though the iconography is mostly Islamic). Colorful robes, chadors, and headdresses are elongated and enlarged, taking an almost architectural form; hats become minarets. Female bodies fall away, or become black voids, suggesting a kind of sublimation from flesh to spirit. The devotion is solemn, mystical, opaque: We’re not sure what specific texts are being read or icons worshipped. Guerresi’s often-looming figures are like peaceful giants from myth, figures removed from our petty, earthly concerns. In interviews, she’s cited the influence of the poet Rumi and Sufi mysticism. “Expressing cosmic beauty heals the diseases of the soul,” says Guerresi, who’ll attend the opening. BRIAN MILLER Mariane Ibrahim Gallery, 608 Second Ave. Free opening reception Friday, May 1, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 1, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Friday, May 1, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Friday, May 1, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Friday, May 1, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Friday, May 1, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Friday, May 1, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Saturday, May 2, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Saturday, May 2, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 2, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Saturday, May 2, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Saturday, May 2, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Saturday, May 2, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Saturday, May 2, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Saturday, May 2, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 2, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Saturday, May 2, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Saturday, May 2, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Saturday, May 2, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Saturday, May 2, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Saturday, May 2, 2015

• 

Chiho Aoshima This is SAAM’s second exhibit by a contemporary young Japanese artist associated with Takashi Murakami. (The artist known as Mr. was the guy who recently filled a gallery with tsunami detritus.) Aoshima is a woman, however, who ought to provide a different perspective on the oppressive sexism of most anime. In addition to 30-plus drawings and two large “dreamscapes,” her show Rebirth of the World will include new animated work, Takaamanohara (or The Plain of High Heaven), dealing with Shinto deities. In her typically colorful paintings, ethereal kawaii sprites roam in enchanted glades where the colors are anything but natural. Long, undulating hair mixes into the undergrowth and vines, suggesting deeper connections to the planet. There are cityscapes, too, as in her 2005 animation City Glow, where the towers rise like wormy, human-faced figures. Corporeal, architectural, and natural realms blur together in her work. Aoshima is a syncretist whose diverse subjects grow from the same spiritual undercurrent. BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $5-$9 Saturday, May 2, 2015, 10pm

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Sunday, May 3, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Sunday, May 3, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Sunday, May 3, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Sunday, May 3, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Sunday, May 3, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Sunday, May 3, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Sunday, May 3, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Sunday, May 3, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Sunday, May 3, 2015

Pan: A Graphic Arts Time Capsule of Europe 1895-1900 The fin de siecle arts journal Pan featured artists including Rodin, Seurat, and Toulouse-Lautrec. (Also running during the same span is the jewelry show 1900: Adornment for the Home and Body, drawn from the local collection of Wayne Dodge and Lawrence Kreisman.) Frye Art Museum, 704 Terry Ave., Seattle, WA 98104 See website for details. Sunday, May 3, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Sunday, May 3, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Sunday, May 3, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Sunday, May 3, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Sunday, May 3, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Monday, May 4, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Monday, May 4, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Monday, May 4, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Monday, May 4, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Monday, May 4, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Monday, May 4, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Monday, May 4, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Monday, May 4, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Monday, May 4, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Monday, May 4, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Monday, May 4, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Tuesday, May 5, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Tuesday, May 5, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Tuesday, May 5, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Tuesday, May 5, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Tuesday, May 5, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Tuesday, May 5, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Tuesday, May 5, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Tuesday, May 5, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Tuesday, May 5, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Tuesday, May 5, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Tuesday, May 5, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Wednesday, May 6, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Wednesday, May 6, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, May 6, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Wednesday, May 6, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Wednesday, May 6, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Wednesday, May 6, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Wednesday, May 6, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Wednesday, May 6, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, May 6, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Wednesday, May 6, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Wednesday, May 6, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Wednesday, May 6, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Wednesday, May 6, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Thursday, May 7, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Thursday, May 7, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, May 7, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Thursday, May 7, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Thursday, May 7, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Thursday, May 7, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Thursday, May 7, 2015

• 

First Thursday Art Walk Beginning around 5 p.m. and often lasting to 9 p.m., the monthly art celebration includes venues like the Tashiro Kaplan Building, Roq La Rue, James Harris, Greg Kucera, and all the other Pioneer Square galleries. Occidental Park will also be full of artists and vendors. Occidental Park, S. Main St. & Occidental Ave. S. Free Thursday, May 7, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Thursday, May 7, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, May 7, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Thursday, May 7, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Thursday, May 7, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Thursday, May 7, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Thursday, May 7, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Friday, May 8, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Friday, May 8, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 8, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Friday, May 8, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Friday, May 8, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Friday, May 8, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Friday, May 8, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Friday, May 8, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 8, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Friday, May 8, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Friday, May 8, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Friday, May 8, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Friday, May 8, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Saturday, May 9, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Saturday, May 9, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 9, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Saturday, May 9, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Saturday, May 9, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Saturday, May 9, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Saturday, May 9, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Saturday, May 9, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 9, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Saturday, May 9, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Saturday, May 9, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Saturday, May 9, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Saturday, May 9, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Sunday, May 10, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There??s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Sunday, May 10, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Sunday, May 10, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Sunday, May 10, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Sunday, May 10, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Sunday, May 10, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Sunday, May 10, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Sunday, May 10, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Sunday, May 10, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Sunday, May 10, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Sunday, May 10, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Sunday, May 10, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Sunday, May 10, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Monday, May 11, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Monday, May 11, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Monday, May 11, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Monday, May 11, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Monday, May 11, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Monday, May 11, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Monday, May 11, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Monday, May 11, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Monday, May 11, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Monday, May 11, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Monday, May 11, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Tuesday, May 12, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Tuesday, May 12, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Tuesday, May 12, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Tuesday, May 12, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Tuesday, May 12, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Tuesday, May 12, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Tuesday, May 12, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Tuesday, May 12, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Tuesday, May 12, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Tuesday, May 12, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Tuesday, May 12, 2015

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Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Wednesday, May 13, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Wednesday, May 13, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, May 13, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Wednesday, May 13, 2015

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Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Wednesday, May 13, 2015

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Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Wednesday, May 13, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Wednesday, May 13, 2015

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George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Wednesday, May 13, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, May 13, 2015

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Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Wednesday, May 13, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Wednesday, May 13, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Wednesday, May 13, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Wednesday, May 13, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Thursday, May 14, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Thursday, May 14, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, May 14, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Thursday, May 14, 2015

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Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Thursday, May 14, 2015

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Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Thursday, May 14, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Thursday, May 14, 2015

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George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Thursday, May 14, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, May 14, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Thursday, May 14, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Thursday, May 14, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Thursday, May 14, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Thursday, May 14, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Friday, May 15, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Friday, May 15, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 15, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Friday, May 15, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Friday, May 15, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Friday, May 15, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Friday, May 15, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Friday, May 15, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 15, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Friday, May 15, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Friday, May 15, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Friday, May 15, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Friday, May 15, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Saturday, May 16, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Saturday, May 16, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 16, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Saturday, May 16, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Saturday, May 16, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Saturday, May 16, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Saturday, May 16, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Saturday, May 16, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 16, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Saturday, May 16, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Saturday, May 16, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Saturday, May 16, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Saturday, May 16, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Sunday, May 17, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Sunday, May 17, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Sunday, May 17, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Sunday, May 17, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Sunday, May 17, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Sunday, May 17, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Sunday, May 17, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Sunday, May 17, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Sunday, May 17, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Sunday, May 17, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Sunday, May 17, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Sunday, May 17, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Sunday, May 17, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Monday, May 18, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Monday, May 18, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Monday, May 18, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Monday, May 18, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Monday, May 18, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Monday, May 18, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Monday, May 18, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Monday, May 18, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Monday, May 18, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Monday, May 18, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Monday, May 18, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It??s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Tuesday, May 19, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Tuesday, May 19, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Tuesday, May 19, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Tuesday, May 19, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Tuesday, May 19, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Tuesday, May 19, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Tuesday, May 19, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Tuesday, May 19, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Tuesday, May 19, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Tuesday, May 19, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Tuesday, May 19, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Wednesday, May 20, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Wednesday, May 20, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, May 20, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Wednesday, May 20, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Wednesday, May 20, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Wednesday, May 20, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Wednesday, May 20, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Wednesday, May 20, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Wednesday, May 20, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Wednesday, May 20, 2015

• 

Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Wednesday, May 20, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Wednesday, May 20, 2015

• 

Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Wednesday, May 20, 2015

• 

Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Thursday, May 21, 2015

• 

Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Thursday, May 21, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, May 21, 2015

• 

DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Thursday, May 21, 2015

• 

Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Thursday, May 21, 2015

• 

Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Thursday, May 21, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Thursday, May 21, 2015

• 

George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Thursday, May 21, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Thursday, May 21, 2015

• 

Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Thursday, May 21, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Thursday, May 21, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Thursday, May 21, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Thursday, May 21, 2015

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Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Friday, May 22, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Friday, May 22, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 22, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Friday, May 22, 2015

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Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Friday, May 22, 2015

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Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Friday, May 22, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Friday, May 22, 2015

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George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Friday, May 22, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Friday, May 22, 2015

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Skyspace James Turrell’s Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. (Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m.) DAVID STOESZ Henry Art Gallery, 4100 15th Ave. N.E., Seattle, WA 98195 $6-$10 Friday, May 22, 2015

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Stronghold The original UW campus downtown was once covered with old-growth timber, as was its present location when the school moved north in 1895. Now, as that institution continues its inexorable sprawl south of Pacific Street toward Portage Bay, New York artist Brian Tolle reminds us of that arboreal past with his recently installed Stronghold. It is at first glance nothing more than a stump on a manicured lawn. Walk closer (sprinklers permitting) and you’ll see it’s a constructed stump, an invented artifact made of inexpensive cedar slats. Measuring about 23 feet in diameter-with a seating area within, possibly for picnics-Stronghold suggests the enormous tree trunks that once drove this region’s economy, that helped establish the city and our state’s first university (founded in 1861). But such towering cedars and firs are all gone, of course, and Tolle’s materials are of the size and grade you could buy at any lumberyard. This neo-stump stands next to a new UW bioengineering building (near 15th Avenue Northeast and Pacific)-appropriate, since technology is the new timber of the Northwest. In shape, the irregular ring also echoes our skyline of ancient, crumbling volcanoes (Mount St. Helens in particular) that were formed in violence. The installation recreates local history before it met the crosscut saw. BRIAN MILLER University of Washington Campus, 15th Ave. N.E. and N.E. 41st St., Seattle,WA 98105 Free Friday, May 22, 2015

Water Mover Unbuilt lots, even sloped blackberry patches sitting on unstable soil, are fast disappearing in Seattle. Particularly in Fremont, where townhouses sprout like mushrooms, any real-estate resistance is appreciated. Sitting next to the Fremont Branch Library, A.B. Ernst Park was completed four years ago with a spiral ramp and stair maze leading down to the alley behind the old P.C.C. Designed by Bend, Oregon landscape architect J.T. Atkins, it seemed a perfect place to sit and read in the south-facing light, but-D’oh!-a guard rail was deemed necessary to keep kids and other visitors from toppling off the textured concrete seats and into the sage. Thus, Seattle sculptor Jenny Heishman was commissioned by the city and Fremont Neighborhood Council to build a fence that didn’t look like a fence. Water Mover is anything but. Its scalloped orange half-pipes are like an aquaduct to nowhere. The broken ring of solid yet irregularly situated water chutes playfully suggests some irrigation scheme where none is needed (the plants are all indigenous). Here the runoff is simply directed into a bucket, or onto the porous concrete and into the ground. Summer may be the best time to enjoy the park, but to better appreciate Heishman’s contribution, take your umbrella during a November downpour and see how the contraption works. BRIAN MILLER Ernst Park, 723 N. 35th St., Seattle, WA 98103 FREE Friday, May 22, 2015

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Wawona At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ‘40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was dry-docked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The five-and-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” BRIAN MILLER Museum of History and Industry, 860 Terry Ave. N., Seattle WA 98109 $12-$14 Friday, May 22, 2015

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Ai Weiwei’s Colored Vases Ai has a contentious relationship with traditional ceramics, having famously-or infamously, depending on your perspective-dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) These vases aren’t inherently precious. They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with. Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn? And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old. (10 a.m.-5 p.m. Wed.-Sun., 10 a.m.-9 p.m. Thurs.) BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, WA 98112 $7-$10 Saturday, May 23, 2015

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Changing Form The most popular viewpoint in the city is often a bore for kids. Whenever I walk up to Kerry Park, on the south prow of Queen Anne Hill, shutterbugs, wedding parties, and sightseers are intent on the panoramic view. Watch what the children do, however, when they squirm free of parental grasp or out of the camera’s frame. Installed in 1971 as a bequest from the same family that gave us the priceless strip park, Changing Form is one of those large Henry Moore-influenced abstract steel sculptures that don’t always wear their age so well. There’s nothing fun or frivolous about the two stacked cutout forms, pure geometry, yet kids flock to the 15-foot-high structure. It’s shaped a bit like building blocks from childhood, and the lower portion forms an eminently climbable cradle. Not many visitors bother to read the brass plaque identifying the artist. Would you be surprised to learn it’s a woman? Very little public art in Seattle-or at least that from the pure commission, pre-public-funding era-comes from female hands. Born here, Doris Totten Chase (1923-2008) studied architecture at the UW, then turned to painting in the late ‘40s. By that time she was a wife and mother of two kids-not some kind of beatnik, not an outrageous headline-grabber like the celebrated (male) artists of the day. An early-’70s divorce freed her to move to Manhattan, where she worked in film and video and lived a thoroughly avant-garde life at the Chelsea Hotel. Sometimes you gotta leave Seattle to find bohemia. Just don’t tell that to your kids while they’re playing. BRIAN MILLER Kerry Park, 211 W. Highland Drive, Seattle, WA 98119 Free Saturday, May 23, 2015

Dale Chihuly The Tacoma native and glass artist has donated several works to TAM, now on permanent display. See museum website for hours. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 23, 2015

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DuPen Fountain Seattle Center is in transition, yet again. Memorial Stadium is crumbling. The Fun Forest has closed. The Sonics may come back (briefly) to KeyArena, but then what? But in certain quiet corners of the civic campus, things are working just fine. Though briefly endangered by a skateboard park last summer, located northwest of the Key in a concrete box canyon, one such enduring element from the original 1962 World’s Fair design is DuPen Fountain. A UW professor and sculptor, Everett DuPen (1912-2005) worked in concert with prominent modernist architect Paul Thiry, who designed the old Seattle Center Coliseum and other Center sites, to establish the water garden (sometimes also called the Fountain of Creation). Local tots and moms use it as a wading pool in summer. When the splashing subsides in autumn, it’s a place for calm contemplation. The bronze forms within do suggest creation; poised over the waters and boulders, there’s a sense of nature struggling to take shape, emerging as if from tide pools. Unlike the Garden of Eden, life isn’t raised by a single divine touch. The inchoate organic and the human form are here linked together. In the fountain’s comparatively short history, two generations of mothers and children have waded in these waters. Those life cycles echo the longer path of evolution, perhaps giving hope for the grounds outside the fountain. BRIAN MILLER Seattle Center, 305 Harrison St., Seattle, WA 98109 Free Saturday, May 23, 2015

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Eloquent Objects Over 60 paintings by Georgia O’Keeffe and her contemporaries.  Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 See website for details. Saturday, May 23, 2015

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Eloquent Objects Although the tendency would be to view this selection of Southwestern art as a Georgia O’Keeffe show (with 22 of her paintings on view), the intent is to bring the New Mexico still-life tradition out of the desert and to our mossy climes. Thus another 40-odd works will represent her peers and heirs: Stuart Davis, Marsden Hartley, Gustave Baumann, Eliseo Rodriguez, and a dozen more. Flowers, cow skulls, cacti, and the Painted Desert are surely represented here, but there’s a meditative way of seeing that’s equally important to the arid inspiration. The desert strips away everything excess (recall Peter O’Toole’s T.E. Lawrence saying he liked the desert because “It’s clean”), always a useful lesson for artists. This touring show is making its only West Coast stop in Tacoma. TAM has more works by O’Keeffe (1887-1986) in its permanent collection (some added with the recent Haub family bequest), though she’s the main draw here, and her influence extends far beyond Santa Fe. We’ll see that reach in a concurrently running companion show, The Still Life Tradition in the Northwest, featuring local names like Morris Graves, Norman Lundin, and Doris Chase. (Through June 7.) BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $14 Saturday, May 23, 2015

Emerge/Evolve 2014 Featured finalists from Portland’s Bullseye Glass Company’s “Emerge” competition in kiln-glass. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, WA 98004 See website for details Saturday, May 23, 2015

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George Tsutakawa: Fountain of Wisdom Years have passed, and the downtown library designed by Rem Koolhaas has agreeably woven itself into the urban fabric. You may not like the ramps or shelving or noise inside, but tourists love to photograph the glassy, faceted exterior, and most architectural critics agree on its modernist merit. Still, walking past, I sometimes miss the small, rather cheap, but more intimate old International Style stack of boxes. Built in 1960, demolished in 2001, the prior library had a reader-friendly scale-nooks and crannies, and a courtyard containing Fountain of Wisdom by sculptor George Tsutakawa. The late local artist (1910-1997) didn’t live long enough to see his work-the city’s first public art commission of note-relocated to the corner of Fourth and Madison, where it now sits next to the new library entrance. But where is the plaque? The abstract bronze flanged structure developed from a series Tsutakawa modeled on the obo-in Japanese, a pile or cairn of rounded stones left by travelers-a shape you’ll find echoed in his many other subsequent fountains designed around the Northwest. But Fountain of Wisdom also rests in the postwar visual vocabulary of Brancusi and Jim Flora. It’s not just traditional; there’s something a little Jetsons about it-like a metal flower on a distant planet. It’s all wrong for the aesthetic of Koolhaas, who probably hates flowers or anything curved and organic that defies his rigid geometry. For that reason, I like the plucky little footnote to the big new building looming over it. Now about that plaque… BRIAN MILLER Seattle Central Library, 1000 Fourth Ave., Seattle, WA 98104 Free Saturday, May 23, 2015

Northwest in the West: Exploring Our Roots On view are some 70 works by regional artists including Guy Anderson, Justin Colt Beckman, Fay Chong, Gaylen Hansen, Eirik Johnson, and Paul Horiuchi. Hours: 10 a.m.-5 p.m. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, WA 98402 $8-$10 Saturday, May 23, 2015