Eyes Wide Open

Also: the Helio Sequence, Margie Livingston & Reuben Lorch-Miller, Garth Fagan Dance Company, and Greil Marcus.

SATURDAY - SUNDAY

IN MEMORIAM

EYES WIDE OPEN

This traveling exhibition, subtitled The Human Cost of War, clearly illustrates just how many lives have been lost on the battlegrounds of Iraq. Where numbers can seem abstract, the site of 1,400 pairs of combat boots is explicit, and this is exactly what organizers—the American Friends Service Committee—are aiming for. Having opened in Chicago with 500 pairs (and pictured here on the lawn of the nation's capitol), the installation has grown to incorporate not just the ever-rising death toll, but the notes and tokens of commemoration left behind by visitors as well. 10 a.m.–7 p.m. Sat., April 9 and 10 a.m.–6 p.m. Sun., April 10. Free. Fisher Pavilion, Seattle Center. LAURA CASSIDY

WEDNESDAY

MUSIC

THE HELIO SEQUENCE

Chop Suey is celebrating its third anniversary this week, and what nicer way to go about it than with a free show? The headliners are exceptional, too: Portland's aching two-man indie-rock wrecking crew, the Helio Sequence, whose grooveful, spiky, buffed-unto-gorgeous second album, Love and Distance (Sub Pop), was one of the best Northwest releases of 2004. Recalling a sweeter-tempered Built to Spill or Modest Mouse (indeed, drummer Benjamin Weikel played in MM, and part of the album was recorded in main Mouse Isaac Brock's garage), the Sequence are both homespun and epic, a rare combination. Mercir, DJ Colby B, and DJ Porq open. 8 p.m. Wed., April 6. Free. Chop Suey, 1325 E. Madison St., 206-324-8000. MICHAELANGELO MATOS

THURSDAY

VISUAL ARTS

MARGIE LIVINGSTON & REUBEN LORCH-MILLER

Greg Kucera Gallery's up-coming show illustrates how well the wily Kucera juggles commercially vi-able painting with groundbreaking stuff. Seattle painter Livingston is in the first category, but she's no slouch, creating gorgeous abstract canvases threaded with a delicate, almost architectural latticework (as in Structure, pictured). Lorch-Miller is an artist of a different stripe, a dark jester working in text and appropriated image. Like slogans for a bored generation, "Forget it" and "Nowhere" blare from neon signs and printed sweatshirts, while random assortments of pixilated images yanked from the Internet manage to be both goofy and apocalyptic. 6 p.m. reception Thurs., April 7. Regular hours 10:30 a.m.–5:30 p.m. Tues.–Sat. Free. Greg Kucera Gallery, 212 Third Ave. S., 206-624-0770. ANDREW ENGELSON

SATURDAY

DANCE

GARTH FAGAN DANCE COMPANY

When Fagan founded his company in 1970, he called it "Bottom of the Bucket, But," as a nod to his limited resources and the modest skills of his neophyte dancers. That was 35 years and many awards ago, however, and the virtuosos performing his works today are skilled athletes, flying through his signature combination of traditional modern dance, ballet, and Afro-Caribbean influences. This distinctive mixture has drawn all kinds of audiences to Fagan's choreography, from the avant-garde to The Lion King, and taken him from the bottom of that bucket to the top of the hill. 8 p.m. Sat., April 9. $22–$45. Moore Theatre, 1932 Second Ave., 206-292-ARTS. SANDRA KURTZ

TUESDAY

BOOKS

GREIL MARCUS

Sick of Bob Dylan books yet? Well, make room for one more, and a pretty good one, at that. Berkeley native Marcus has written extensively about Dylan—see 1997's Invisible Republic (later republished as The Old, Weird America) as well as portions of 1975's Mystery Train and 2000's Double Trouble. But the new Like a Rolling Stone: Bob Dylan at the Crossroads (Public Affairs) situates Dylan's most famous record in the folk canon it implicitly rejected, the Top 40 radio it utterly transformed, and Dylan's own catalog, which it both summarizes and stands apart from. Marcus's prose can get lugubrious, but he's got plenty to say, and he may be the first critic ever to make you want to see Dylan's widely panned 2003 movie Masked and Anonymous. 7:30 p.m. Tues., April 13. Free. Elliott Bay Book Co., 101 S. Main St., 206-624-6600. MICHAELANGELO MATOS

 
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