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Public Art
The Stadium and Exhibition Center Art Program was launched in 1998, enabled by a voluntary $1.75 million contribution from First & Goal Inc. In 1998, a request for qualifications yielded a total of 254 responses from around the United States and Canada. The artists featured in the program were selected by a 11-member Art Selection Committee.
The guiding mission of the art program was to:
- Engage both regional and national artists to create artworks that capture the public's interest and imagination
- Develop a collection that will serve as a destination for visitors from around the world
- Represent a diverse range of cultural and artistic perspectives
- Create a collection that will be a source of pride for the region
Juan Alonso, Seattle
Four Zones, 2001
Mr. Alonso produced a series of four paintings, each measuring 6' tall and 10' wide. The paintings depict floral imagery, for which the artist is known, and are exhibited on the north wall of the south end-zone club restaurant/lounge.
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Beliz Brother, Seattle
lumen, 2002
Ms. Brother, well known for her use of light as an art form interacting with architecture, created a geometric design using lights embedded in the concrete in the North Plaza. Mainly seen at night, the work will provide a stimulating focus within the North Plaza for patrons and the surrounding community.
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Romson Regarde Bustillo, Seattle
Barangay, 2001
Mr. Bustillo's three large-scale paintings are from an ongoing series of works exploring contemporary and historic Filipino culture. The works are featured in the corridor between the Exhibition Center and the Stadium.
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Cheryl dos Remedios, Seattle
The Stadium Suite, 2001
Eight of Ms. dos Remedios' paintings have been reproduced as banners and are displayed in front of the Qwest Field Event Center. Her work reflects playfully on the full range of visual stimuli in the building.
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Claudia Fitch, Seattle
Colossal Heads, 2002
Ms. Fitch created the six "Colossal Heads" mounted on the central columns of the stadium's west colonnade along Occidental Avenue. The heads, all between 6 and 7 feet in height are a idiosyncratic interpretation of images from a variety of eras and cultures.
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Glenn J. Rudolph, Seattle
10 gelatin silver prints all uniquely named
Working in large format black and white photography, Mr. Rudolph focused primarily on the Duwamish River. When shown together, his 10 photographs tell the story of the changing face of this Northwest landscape.
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David Russo, Seattle
Populi, 2001
Mr. Russo created moving video imagery reflecting the textures of our surrounding region in a loose, non-linear narrative that permits "entering" the piece at any time. This imaginative time-based work is featured on the external media totems as well as on the internal media system.
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Robert Yoder, Seattle
Montgomery Line, 2000
In the South Royal Brougham Way sidewalk, Mr. Yoder developed a series of shapes that weave in and out of the entrance to the Exhibition Center. The colorful material is visible to pedestrians as well as patrons viewing the project from above.
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Bob Haozous, Santa Fe, New Mexico
Earth Dialogue, 2002
Mr. Haozous' installation of the stadium's North Tower is assembled from four 24-foot diameter painted steel discs. Although inspired by symbols that are part of his Warm Springs/Chiricahua Apache heritage, Haozous believes that the forms and colors of the artwork have universal meanings.
Specifically, the artwork is intended as a constant reminder of our deep connection to the earth. According to Haozous, the lowest disc, depicting a stylized cityscape, represents our contemporary, man-made world. The green disc above it symbolizes life and growth, but its human figures are flying away, suggesting the loss of man's direct tie to nature, or in a more hopeful reading, a return to those ties. The third disc honors the sun, highlighting our depended on the natural world and the redemptive powers of nature. The top disc is a collection of man-made clouds, meant to suggest the immensity of the natural environment.
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James Lavadour, Pendleton, Oregon
Standing Among Ghosts, 2001
Mr. Lavadour is highly regarded for his Northwest landscape images. For this project, 16 of his paintings have been assembled into an interlocking grid and installed at the entrance of the club lounge in the stadium. The invented landscapes pay homage to the deserts and mountains of his homeland in northeastern Oregon.
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Susan Point, Vancouver, British Columbia, Canada
Written Into the Earth, 2002
Ms. Point's artwork for the stadium consists of two distinct projects; a band of cast bronze bas-relief sculptures at the base of the North Tower and all the tree grates for the entire Stadium & Exhibition Center.
The pattern of bronze bas-relief sculptures at the base of the North Tower (in an arc that outlines a portion of the former footprint of the Kingdome) is composed of four designs intended to represent world cultures.
The tree grate designs are based on the designs of spindle whorls-stone flywheels attached to the tools the Salish used for spinning yarn.
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Peter Shelton, Malibu, California
rockshadow, 2002
On the West Plaza along Occidental Avenue, Mr. Shelton installed a work titled "Rockshadow." The installation includes a large Northwest boulder approximately eight to 10 feet in diameter, and weighing 35,000-65,000 pounds, which reflects the geological origins of our region. A bronze cast of the rock or "shadow" has been placed near the rock.
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