I was walking along 12th Avenue last week when someone stopped me on the street. I highly regard her. She’s a pillar of the Seattle scene. And she had advice for me.
She told me, basically, to stop misbehaving. She questioned whether I was, as a woman writer and woman curator, not taking my role seriously and responsibly enough. She said that admitting to ever being drunk undermined my opinions. She said men can get away with it, but women really can’t.
That as a woman behaving this way, I wouldn’t be able to earn the respect and attention of the right people in order to advance my career. It came from a place of mentorship and good will, but it made me cringe. I went home and cried for a minute. Did it hit below the belt because there was some truth to it? To get ahead in the art world, to matter to the right people, do I really still have to be the virgin and the whore? That old chestnut. Then I cleaned up and went to an art show.
IN THE FUTURE, ALL ART CRITICS ARE COMEDIANS What I was headed to see was Dreamland Sinkhole, Graham Downing and Ian Schempp’s visual-art-inspired-improv-performance brainchild hosted at Andralamusya. This was the second Dreamland Sinkhole in a series that will take place every few months. I’d missed the first one. The tongue-twister-ific Andralamusya is a DIY venue set up at artist Hanita Schwartz’s home in Columbia City. I arrived at dusk. The destination was a lovely, mid-century rambler already packed with patrons and performers nibbling on hors d’oeuvres. We eventually filed into the basement, which Schwartz has remodeled as a performance space complete with small stage, red velvet curtains and seats.
By the time the show started, there was standing room only. The concept of Dreamland Sinkhole is call and response with a twist: improv performers are called on to make comedy inspired by visual art. For Wednesday’s event, Downing and Schempp invited Gretchen Bennett, Susan Robb, Lindsay Apodaca and Eric Aguilar to bring visual work and Molly Arkin and Doug Williot to provide the improv. Truthfully, I wasn’t blown away by the improv. I wasn’t rolling in the aisles. But if the comedians floundered occasionally, they also had their bizarrely shining moments, like the response to Apodaca’s This Should Make Your Day, a very brief video piece about Garfield getting stoned to a Nirvana soundtrack.
As soon as Apodaca’s projection stopped rolling, the improvisers jumped right into a sketch about competitive feline lovers getting zapped in electric chairs. The improv cast responded to one of Robb’s by building a living sculpture onstage from audience-sourced objects, including keys, a hat and one member of the audience curled in a fetal position. The evening wrapped when the theater curtains parted to reveal a large window opening on the back lawn. Outside, the fire pit was roaring. Performer Eric Aguilar was poised on the other side of the glass, dressed in carnivalesque plumage, the hallucination of a paper firebird sputtering halos of flame. He danced a slow, half strip-tease, feathers fluttering from arms and chest.
The remainder of the evening comprised the requisite chitchat and backyard wine-quaffing as our clothes filled with the smell of smoke and stars poked out. I kept thinking, What on earth just happened?
It was weird, hilarious and terrible at times, but I’m so glad this exists. Residents of Columbia City, you have a really amazing thing happening right in your backyard, and it’s a shame if you miss it.
YOU BREAK IT, YOU BUY IT Amongst a maelstrom of report-worthy openings (like Sherry Markovitz’s eerie-ethereal gouache paintings of bisque dollies on silk at and Peter Scherrer’s watercolors of dank Northwest landscapes at ), the highlight of Thursday’s openings was Klara Glosova’s at Gallery 4Culture. Most people probably know Czech-born Glosova for opening her Beacon Hill home as an in 2010. For these expansive one-day exhibits, Glosova would remove all the furniture from her house and transform the nooks and crannies by infusing them with the artwork of 30+ artists. That included installation, sculpture, video, DJs. Nothing was out of bounds. Later these monumental events gave way to smaller, monthly exhibits called “Little Treats.” These were contained (usually) on the first floor of NEPO House.
“Little Treats” eventually gave way to the annual smorgasbord of site specific art that is. Known mostly as the indefatigable whirlwind behind so much curation and organization, it’s a treat to take in this other side of Glosova, whose range of technical skill is staggering and whose playfulness with materials is fearless. It’s growing on me as a body of work feels emotionally naked. The gallery is filled with dozens of intimate and quirky pieces, including work made of unfired clay and porcelain, watercolors, a wall covered in xerox copies from sketchbooks and large photographic prints. Many of the clay pieces are delightfully exact mimetic recreations of underwear, socks, camisoles: (if rarely) which speak to both a tender pleasure in domestic chores and a melancholy bondage to familial duties.
But much of the sculpture in the show is a departure. These new pieces are gnomish, half-human, half-golem figures.
Their faces and bodies are funny and lumpy, like malformed puppets. She’s scattered them nonchalantly around. A few are hiding in cardboard boxes. Two figures squat on all fours on a stack of pillows.
They face each other, almost touching puckered lips, while one shits gold coins out its ass. Maybe it’s making mockery of the art object’s ability to garner wealth. Maybe it’s a good luck talisman. Knowing Glosova, it’s probably both.
Text-based pieces in the form of literary quotes (and one from D.W. Burnam) play a central role in the show as well. Glosova hand-formed each letter of each word with evident, painstaking care, then installed the fragile sentences hazardously on the floor. They could be stepped on, crushed, pulverised in a moment. “AND PERHAPS IN THE PLACE OF MY HEAD SHE WILL PLACE A MELON,” one of Beckett’s quotes reads. They’re mostly happenstance stuff she’s jotted in her sketchbooks over the years. Another entire wall is filled with xeroxed copies of drawings from archives of her sketchbooks.
It’s the stuff of uneasy dreams, of Jung, of desired strangers, of many-breasted women on all-fours. Around the corner from the woman’s bathroom, tucked away and easily missed, there’s a pile of broken letters arranged carefully.
I stood over them, trying to make out the message, but no matter how I attempted to read it—forward or backwards or both—the piece was incoherent as a hex or asemic scrawl. She told me later it was nonsense formed from broken scraps of words. As though the only thing left to do at the end of the day is gather the fragments, the lost breaths and unfinished thoughts and leave them like bread crumbs. When I was on my way out, one visitor accidentally stepped on a ceramic tube sock arranged on the floor. It shattered. “Put a red dot on it,” he said.
“It’s mine now.” It seemed a fitting punctuation. Glosova’s work is dangerous because it’s so sincerely senseless and acceptingly humorous. It bellows futility. She makes things to be broken. Yet nothing broken is wasted. Walking into the space, we, like her, can barely breathe without breaking. NUPTIALS Sunday afternoon, art collectors, aficionados and glitterati filled gallerist Greg Kucera and Larry Yocom’s rooftop garden for a wedding.
“If a bomb drops on us right now, the Seattle art scene is screwed,” someone commented as we all congregated around the happy couple for an exchange of vows. Despite guarantees that this wouldn’t be the anxiety-attack-provoking perfect Gay Summer Wedding of our nightmares (their email invite even included a reassuring link to ), everything was perfect. The sky was cloudless. A three-tier, red plaid wedding cake matched Kucera’s suit. We washed down crab cakes with prosecco infused with syrupy, pink elderflower liqueur. As a pair of handsome young men sang in dulcet, choir-boy tones as syrupy and pink as the elderflower liqueur, I leaned over to my date and said, “This is disgustingly tasteful.” “Xanax for Gay Summer Weddings,” he mumbled back.
Another wedding-goer had actually gone to the trouble of bringing a bottle of little blue pills for the occasion. He poured out a handful of blue tabs. “Tic Tacs,” he assured us.
Whatever they were, I popped two. (All jokes aside, many congrats to a wonderful couple who have done so much for Seattle and the arts.) At one point during the festivities, I ran into the one and only, conspicuously absent arts writer Regina Hackett. She looked effervescent. She hinted at a return to art writing. I recounted to her how I’d been recently reprimanded for my irresponsible art writing. Her eyes narrowed.
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“It makes me think of Anatole Broyard, the book critic who wrote for the New York Times in the ‘40s. He was part black, but he kept the fact a secret till his death because he didn’t dare risk being pigeonholed as a black writer. And in those days, you couldn’t just be a writer.
You would be a black writer first, and he knew that. Of course that was then, and this is now.
But sometimes it still nags: Do I have to be a woman? Can’t I just be, you know, a person?” It probably has something to do with my generation, but I’ve never been preoccupied with overcompensating for my second sex status. I don’t lose sleep over it. I don’t alter my course because of it.
Of course my gender informs my work as well as my everyday behavior. But more than being female, my identity is tied to and informed by my milieu, by my creative community, by the dark, bizarre, sublime ambience of the region. One of the things I love about this place is that it’s bursting with female curators, arts administrators and writers. Being a successful cultural contributor and producer here doesn’t require extra political maneuvering and manners because of my genitals. That’s not the city I live in. This irresponsible writing is my document of a moment, a zeitgeist.
This is my dear diary love letter to a city not exactly known for following the rules. Or for being very buttoned up or ladylike. This is who we are and this is what we do. Here, girls can be bad boys too. NEXT WEEK IN THE ARTS It’s the of the Blitz Capitol Hill Art Walk! There’s an afterparty at Narwahl and free guided walking tours with some of the Hill’s “Cast of Characters,” including Purple Mark, Emmett Montgomery, Sisters of Perpetual Indulgence, Jen Graves, Ellen Forney, Joey Veltkamp and Mylinda Sneed.
Thursday night: Amanda James Parker’s Tent Union (Gimme Shelter). In Parker’s unqiue (self)portraits, she dons a garment that doubles as architectural structure (a tent of sorts) and engages her subjects in settings both mundane and unusual. I had the pleasure of “sitting” for one of these, draped on my fainting couch as she popped over me, sneaked a kiss and the shutter snapped.
Dan Hawkins‘ The Water Project. For years, Hawkins has been documenting urban landscapes as well as capturing unforgettable moments of performance for groups like Saint Genet. In this thesis exhibit, Hawkins traveled to locations around the region where the water meets the urban environment. He photographed the locations using an 8×10 camera, then developed the film in water from each location. Convertibles at (one night only).
Convertibles presents the multimedia work of Drew Miller and Joe Rudko, two relative newcomers to the scene. Another one-night only show, featuring sculptures by Eve Cohen and Sonja Peterson.
Principles Of Design Emphasis
Friday, June 15: Buster Simpson’s Surveyor at Frye Art Museum. 2pm gallery talk.
How did we not have a thread about? I’m not huge into Warhammer miniatures, but the stuff has always interested me in a roundabout way because so much of it bleeds into videogames. This is sort of big news.
Not the fiction. I mean, I guess lore guys are into the changes there, but as far as I can see, the story stuff isn’t really that different. (It’s still Chaos versus orcs versus humans versus elves versus dwarfs etc, just now in “pocket universes” instead of one place.) The big change may be the rules themselves. 9th edition (Age of Sigmar) is moving from gigantic regimented armies facing off against one another to smaller skirmishes like Warhammer 40k. Free pdf rules here: (Edit: That 4-page pdf isn’t some summary or intro ruleset, that’s actually the full rules!) This is kind of huge, right?
From what I’m reading from fans, this is like 4th Ed D&D. Some people reaaaaally hate the changes. Some people are saying it was time for the rules to be updated to a “more casual” style of play. Any Warhammer experts have any opinions? Some of the stuff sounds pretty cool to me.
(Keep in mind that I’ve only ever played a couple of games of WH40K in real life. Never any WHFB.). Model rules come on “Warscrolls” packaged with the models. All rules - including the Warscrolls - will be free as pdfs. No more regimental formation movement required.
Emphasis on heroes and unique models in armies. Some of it, I just don’t know. No point values for units.
Balance is just sort of agreed on by players. Army sizes are basically determined by players daring each other to go over a “sudden death” rule that lets the person with the much smaller (one player has 1/3 more units) army pick a victory condition like “kill the enemy general” for an insta-win.
Orcs will become “Orruks” and ogres will become “Ogors” eventually. Rumors are that Slaanesh is going away entirely or being retooled into a generic Chaos god to make him more “family friendly.”. GW will create new models for greenskins that apparently look very different. Measurements no longer use the base as the anchor.
You measure from the closest point on the model to the closest point on the target model, so an arm raised up holding a spear, or a dragon tail that extends past the base, counts. Here is the text of how to balance the fight: The players then alternate setting up units, one at a time, starting with the player that won the earlier dice roll. Models must be set up in their own territory, more than 12' from enemy territory. You can continue setting up units until you have set up all the units you want to fight in this battle, or have run out of space. This is your army. Count the number of models in your army – this may come in useful later.
Any remaining units are held in reserve, playing no part unless fate lends a hand. The opposing player can continue to set up units. When they have finished, set-up is complete.
The player that finishes setting up first always chooses who takes the first turn in the first battle round. This is the Sudden Death rule that balances the players’ armies: Sometimes a player may attempt to achieve a sudden death victory. If one army has a third more models than the other, the outnumbered player can choose one objective from the sudden death table aŽ er generals are nominated. A major victory can be claimed immediately when the objective is achieved by the outnumbered.player. Basically, it’s a dare.
The first player puts as many units down as he wishes. The second player then puts as many units down as he wishes, but if he outnumbers the first player’s units by more than a third, the first player can choose to enact Sudden Death rules, giving him a much easier path to victory. What keeps you from using all ogres or whatever? Nothing as far as I can see.
I enjoy more reading between the lines than the actual details of the changes. And it seems like perhaps that the old fashioned idea of $50 and $75 rule books which can be instead pirated for free is an untenable situation. And to be brutally honest most of the rule books weren’t that great either - neither the art, which existed on a bell curve range, nor the rules, which were were silly, nor the fiction, which in general was nothing more than a superficial outline. It also seems like perhaps their Warhammer fantasy stuff just isn’t selling enough anymore either.
Back before college i used to play Battletech with some friends, and it was hilarious how bad the rules actually were. There was no reason when playing as a mercenary Mechwarrior to pick anything other than the largest, most expensive vehicle, and you had to really buy into the fiction to rationalize suboptimal picks.
I never played Warhammer but i did buy a couple of the rule books and a few novels after getting into the Dawn of War RTS games. And frankly those games were far more compelling than the rule books or most of the Black Library faff which were by-the-numbers bullet points of units and faction ‘traits and special abilities’ with a little bit of characterization. I think it looks great, but then I am more a hobbyist than a gamer when it comes to tabletop war games.
For me these games are more an excuse to put my army of models on the table and march them to their inevitable doom than anything else. With that sort of dedication to the game 4 pages sounds pretty nice (as opposed to the mountain of info I am supposed to remember for a game of Warmachinewhich I invariably forget anyway). Pew, pew, pew (Tom, you know you wish you had your very own army of little blue army men).
I guess they just finally, completely, and utterly threw in the towel. They never were remotely good at balancing. The cynics, like me in this case, saw it as marketing rather than flawed game design. Others just claim that things are different on the other side of the pond in regards to min/maxing. Anyway, I am not surprised that rules seemed half baked. I am surprised at the theoretical desire to go for smaller armies.
This runs very much against the status quo in their business practices. All that said. I love the universe.
For the god Emperor! Telefrog: 9th edition (Age of Sigmar) is moving from gigantic regimented armies facing off against one another to smaller skirmishes like Warhammer 40k. Not so sure about this. The hateful eight script online pdf. While the system is indeed scalable to an extent the previous one wasn´t the only size indication in the rules speaks of 100 per side (which is not a skirmish in my book). But yes, except for the balance issue, it seems GW is basically trying to embrace more modern design techniques (the Warscrolls -or the rules are in the cards school of design- is particularly useful to reduce clot and keep everything manageable). I might try a game with paper stand-ins to see how the game handles. Certainly looks flexible and lightweight enough for my present self (which doesn´t have that much time anyways).
Regarding balance: I think a lot of miniature gamers are not that interested about balance (at least I know I wasn´t when I played miniatures). You don´t play that much to win as to put your army on the field and see what happens. Besides, I don´t think you can properly balance such an extensive game as this (too many moving pieces) so maybe the cop-out of saying just have fun and see what you can do is better than the min-max borefest that the competitive version of WH tends to degenerate into. Juan Raigada: Regarding balance: I think a lot of miniature gamers are not that interested about balance (at least I know I wasn´t when I played miniatures). You don´t play that much to win as to put your army on the field and see what happens. Besides, I don´t think you can properly balance such an extensive game as this (too many moving pieces) so maybe the cop-out of saying just have fun and see what you can do is better than the min-max borefest that the competitive version of WH tends to degenerate into I don’t agree with this. The game is no more complex than an RTS or indeed any strategy game that allows you to “buy” units.
It’s basically health/attack/number of models per unit/spells. They could balance that stuff if they put their mind to it.
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If you would like to use all features of this site, it is mandatory to enable JavaScript. Fantasy Battles: The 9th Age is an independent table top miniature wargame set in a fantasy world, in which players take control of armies and set them upon one another in conflicts ranging from minor skirmishes to mighty battles with hundreds of models.
The game and all of its rules are completely free to download and use, and consist of a main rulebook and over fifteen army documents, ranging from stoic men and noble elves to the feral orcs and dread worshipers of the dark gods. You can easily assemble your own army using appropriate 28mm miniatures from any manufacturer. Fantasy Battles: The 9th Age has been created by a group of experienced wargamers, a large supportive staff and continuous input from the wargaming community.
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We aim to provide a competitive, balanced and fun game, with updates and new rules to be released regularly. We’ve created 16 unique armies from the Dread Elves in the west to the Ogre Khans in the east. Each army has different units and playstyles and can be represented by models from any 28mm model company.
People said it was impossible, but we have created a game that is both balanced and fun. Don’t believe us? Try it for yourselves. Happy wargaming.
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T9A The latest issue of the 9th Scroll is here! You can read all about it in the news. On this very special episode of MGR, we chat to Felix Newman, of the Scottish team as well as Martin Bueno, who was Coach and player at the event in Zagreb, as well as MGR's own Andrew Lind who also comprised part of this year's team. So sit back and relax as we find out how the Scottish team did this year! The Scottish Facebook page for updates and news about forthcoming tournaments and events here And the Scottish Twitter for pictures from battle reports etc. To get in touch with the podcast team and to submit questions for the show you can email us.
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