SATURDAY VISUAL ARTS FRAUD A fabulous gala party kicks off ConWorks’ fall multidisciplinary series, this time trading on the theme…
Send listings two weeks in advance to visualarts@seattleweekly.com. Lectures and Events Artist Lecture: Kristin Tollefson The Bainbridge Island native talks…
Chamber Dance’s program recalls the influence of Martha Graham.
Why do producers keep staging these things? Oh . . .
Book news and gossip.
Anti-intellectual editor in chief of Maxim magazine Keith Blanchard says, “The world of journalism is in the early throes of…
Alan Ayckbourn gets lost in his own time machine.
Alexander and the Terrible, Horrible, No Good, Very Bad Day Life is unfair, especially for younger brothers, and Judith Viorst’s…
Germany’s Nobel Prize winner presents a new challenge.
A year ago, Seattle’s Fantagraphics was on the brink of bankruptcy. Now it’s in the black, thanks to good ol’ Charlie Brown—and a pair of dogged believers who turned a cranky fanzine into the most widely respected comics publisher in America.
Wed – Books Not a woman known for self-indulgence, Joan Didion is about as unsparing and honest as you’d expect…
Death doesn’t diminish father-son tensions.
Locust / Foot in Mouth This double bill pairs two fast-rising groups from the local scene. Amy O’Neal of Locust…
The Northwest loses a visionary, an activist, and a motorcycle buff. Plus other arts news.
Three smart new books analyze movie giganticism. Bigger may not be better so far as viewers—and readers—are concerned, but it’s definitely the future.
Usually the sour misanthrope, T.C. Boyle is surprisingly generous with naive hippies lost in the wilds.
Send listings two weeks in advance to visualarts@seattleweekly.com. Lectures and Events In Resonance: Forum on Sound-Based Art Artforum critic Christoph…
While an artist’s inspiration isn’t necessarily evident in the work, nor necessarily relevant to an observer’s experience of it, sometimes…
Shadow has a little spark.
Just in time for Fallujah, the famously brave, verbose writer has condensed his epic rumination on violence—although hearing him explain it may still be preferable to actually reading it.
