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Dr. Wilda Reviews: Seattle Art Museum: Yves Saint Laurent – The Perfection of Style

10 Oct

Talent hits a target no one else can hit; Genius hits a target no one else can see.             Arthur Schopenhauer

Moi attended the press preview for Yves Saint Laurent – The Perfection of Style at Seattle Art Museum (SAM). Here are the details:

Yves Saint Laurent: The Perfection of Style

Tue Oct 11 2016 – Sun Jan 8 2017

Seattle Art Museum

Simonyi Special Exhibition Galleries

Get Tickets     https://tickets.seattleartmuseum.org/public/show_events_list.asp?shcode=942&secode=771&vencode=1

“I am no longer concerned with sensation and innovation, but with the perfection of my style.”
–Yves Saint Laurent

The Seattle Art Museum presents Yves Saint Laurent: The Perfection of Style, showcasing highlights from the legendary designer’s 44-year career. Drawn from the collection of the Fondation Pierre Bergé—Yves Saint Laurent, the exhibition features new acquisitions by the Foundation that have never been shown publicly before.

With a selection of 100 haute couture garments, SAINT LAURENT rive gauche clothing and accessories, photographs, drawings, films and other multimedia elements from the Foundation’s vast archive, the exhibition creates a visually rich environment for visitors to witness the development of Saint Laurent’s style and recurring themes throughout the designer’s career. The multifaceted exhibition is curated by independent Parisian curator and fashion expert Florence Müller in collaboration with Chiyo Ishikawa, SAM’s Deputy Director of Art and Curator of European Painting & Sculpture.

Visitors will observe Saint Laurent’s immersive working process from his first sketch and fabric selection to the various stages of production and fitting before the final garment was realized. Beginning in 1953 with the Paper Doll Couture House that he created when he was a teenager, the exhibition is a journey from his first days at Dior in 1958, through his groundbreaking designs in the 1960s and 70s and the splendor of his final runway collection in 2002.

The exhibition is organized by the Seattle Art Museum in partnership with the Fondation Pierre Bergé – Yves Saint Laurent, Paris

Special Hours

  • Monday 10 am – 5pm
  • Closed Tuesday
  • Wednesday 10am – 5pm
  • Thursdays 10am – 9pm
  • Friday – Sunday 10am – 5pm

Daily Prices

  • $24.95 Adult
  • $22.95 Senior (62+), Military (with ID)
  • $14.95 Student (with ID), Teen (13 – 17)
  • FREE for children (12 and under)
  • FREE for SAM Members

Yves Saint Laurent: The Perfection of Style [Book]

Author: Florence Müller

Publisher: Rizzoli International Publications, Incorporated

Pages: 168

Format: hardback

Publication Date: 2016

ISBN: 0847849422

Here is the site:  http://ysl.site.seattleartmuseum.org/

This is how SAM described the exhibit in the press release:

ABOUT THE EXHIBITION

The exhibition guides viewers on a path tracing the trajectory of Yves Saint Laurent’s life and career. Divided into eight thematic sections, it features 110 Ensembles illustrative of his tremendous achievements and the sources of his design inspiration.

The exhibition begins with Saint Laurent’s “Paper Doll Couture House,” shown For the first time in the United States. The paper dolls and corresponding wardrobes and accessories were created by the designer as a teenager on the precipice of a lifetime of fame and success.

Ensembles early in the exhibition focus on Saint Laurent’s formative years at the House of Dior, including an example of a short evening dress from his successful debut Trapeze collection (1958). Later ensembles from Saint Laurent’s own couture house spotlight innovations that redefined women’s

fashion: the peacoat (1962), the tuxedo (1966), the “First” pantsuit (1967), the safari jacket (1968).

Visitors will also see how Saint Laurent was inspired by art. The exhibition includes one of his famous dresses that pays homage to Piet Mondrian (1965) and dresses inspired by Pop art (1966). Also on view is an evening ensemble comprising a raffia coat and a silk dress embroidered with wooden beads

(1967) loosely based on African art. In addition to ensembles fully accessorized in the “total look” favored by Saint Laurent, numerous photographs, drawings, and production documents offer a rare behind-the-scenes glimpse into the creative workings of the fashion house and the private life of the couturier. Collection boards from 1962 to 2002—every Saint Laurent haute couture show—feature sketches and swatches that retrace 40 years of the maison de couture’s fascinating history. A room of muslins, the hand-sewn forms ateliers use to create a first draft of couture garments, offer a unique look into how the garments were constructed.

The exhibition concludes in an explosion of color with a procession of evening wear ranging from black silk (1977) to blue-green chiffon (1985) to red silk crepe (1985) gowns to a white damask wedding gown (1995)—the traditional ending to an Yves Saint Laurent couture show.

The multifaceted exhibition is curated by Florence Müller, guest curator and Denver Art Museum’s Avenir Foundation Curator of Textile Art and curator of fashion in collaboration with Chiyo Ishikawa, SAM’s Deputy Director of Art and Curator of European Painting and Sculpture…..

After SAM, the exhibition will travel to the Virginia Museum of Fine Arts from

May 6–August 27, 2017….

British Vogue has a concise biography.

Jo Craven wrote about Saint Laurent in  British Vogue:

Yves Saint Laurent’s legacy as a king of fashion designers, who created a masterpiece of a brand, keeps growing.

  • Yves Saint Laurent was born in 1936 and grew up in Oran, Algeria
  • At 17, he left for Paris where he showed his drawings to Michelde Brunhoff – director of French Vogue – who publishedseveral of them immediately
  • Following a stint at fashion school, Yves Saint Laurent was introduced to Christian Dior where he worked until Dior’s death in 1957
  • After taking over as art director for Dior, Yves Saint Laurent launched his first collection for the company, the Ligne Trapéze, that year. It was a resounding success and won him a Neiman Marcus Oscar
  • In 1962, after completing National Service, Yves Saint Laurent set up his own fashion house with Pierre Bergé
  • In 1966, he introduced le smoking – his legendary smoking suit. His other inventions include the reefer jacket (1962), the sheer blouse (1966), and the jumpsuit (1968)
  • In October 1998 Yves Saint Laurent showed his last ready-to-wear collection for the Rive Gauche label he had founded more than 30 years before. He carried on his haute couture until 2002
  • After a brief stint with Alber Elbaz as designer, in 1999 Tom Ford arrived to take control at the house. The brand entered the stratosphere where it remains today, covering perfume and menswear as well as womenswear.
  • At his last show, in 2002, a tearful Yves Saint Laurent tookhis final bow as his long-time muse, Catherine Deneuve, sang MaPlus Belle Histoire d’Amour. Stefano Pilati, who replaced TomFord in 2005, continues Yves Saint Laurent’s message that “dressingis a way of life”.
  • Yves Saint Laurent died after a long period of ill health at his home in Paris on June 1, 2008. He was 71.

http://www.vogue.co.uk/article/yves-saint-laurent-biography

SAM’s exhibit of 110 fashion exhibits is organized around the following themes as described in the Gallery Guide:

The Little Prince of Fashion

The Beatnik Couturier

The Celebrity Couturier

A Living Legend

Never Too Much

Contradictory Impulses

The Genders

A Modular Wardrobe

The Alchemy of Style

African Art

The Pop Movement

Mondrian and Pop Art

From Darkness to an Explosion of Color

Claire Marie Healy wrote about Bowes Museum, County Durham and their exhibit of Saint Laurent:

Before the exhibition opens this weekend, here’s just five reasons why a dip into the YSL archives is more relevant than ever.

HIS TAKE ON ANDROGYNY STARTED A REVOLUTION

When Saint Laurent debuted Le Smoking in 1966 – a menswear-inspired tuxedo, tailored for women – it became an instant classic for women who wanted to appear equal parts glamorous and strong. Entering the cultural consciousness at a time when many second-wave feminists avoided discussing fashion directly, it radicalised eveningwear and irrevocably transformed the way women dressed. Made iconic by famous devotees like Nan Kempner, Betty Catroux and Bianca Jagger, the look told the world that if women are ever going to wear the trousers, they should be able to wear them to their wedding day and Studio 54 alike.

HE MADE ART AND FASHION COLLIDE

While mining one another’s inspirations is now par for the course in the fashion and contemporary art worlds, Saint Laurent was among the first to tap the gallery for the runway. Sending out clothing inspired by Andy Warhol, Van Gogh and Georges Braque in the ’60s and ’70s, his 1965 Mondrian collection is the most enduring collaboration: containing six shift dresses in homage to Piet Mondrian, the colourful designs punctuated the modernist spirit of an entire generation.

HE FREED THE NIPPLE BEFORE INSTAGRAM WAS A THING

The on-going fight to #freethenipple on present-day social media reveals the trailblazing nature of Saint Laurent’s taste for sheer throughout his design career. Rebelling in a different way in the era of the miniskirt, Saint Laurent’s models would always go braless under sheer organza blouses and couture gowns with a feathered trim. And much like today’s campaign, the decision was less about pleasing the onlooker, and more about asserting equality between the sexes.

HE CHAMPIONED DIVERSITY IN FASHION

In a fashion industry where white-washing is still an issue, it’s worth revisiting the designer who went against the grain with his focus on diverse casting in the ’60s and ’70s. Saint Laurent made major strides in diversity that are still being felt today, tapping black models like Iman, Rebecca Ayoko and Katoucha Niane for his muses over the years. Queen Naomi herself – who just this week spoke out against industry racism – even credited the designer with giving her her first Vogue cover. As she said on news of his death in 2008, “He has done so much for people of colour.”

HE STARRED IN HIS OWN CAMPAIGNS

Today, you’re increasingly likely to see a designer star in his or her own campaign – or, in the case of Donatella for Givenchy, another label’s campaign altogether. But several decades before Marc Jacobs’ beefed up body illustrated the benefits of nude self-promotion, Yves Saint Laurent’s (slightly less oiled) physique broke new ground in fragrance advertising in 1971. Photographed by Jeanloup Sieff, the black and white image for YSL Pour Homme was hardly published anywhere at the time – though it would come to resonate with the gay community in later years. http://www.dazeddigital.com/fashion/article/25429/1/how-yves-saint-laurent-changed-fashion

When Saint Laurent and Pierre Bergé began saving pieces from each collection, they obviously believed the work of Saint Laurent was important and so artistic and creative that the pieces could be considered art. Zandra Rhodes and the director of the Design Museum, Alice Rawsthorn debated in the Guardian article, Is fashion a true art form?  https://www.theguardian.com/artanddesign/2003/jul/13/art.artsfeatures1  Suzy Menkes also address the question in the New York Times article, Gone Global: Fashion as Art?  http://www.nytimes.com/2011/07/05/fashion/is-fashion-really-museum-art.html  Moi is not prepared to say whether fashion is art. Saint Laurent’s clothes are certainly beautiful at times, creative, and slightly ahead of the culture, but not so far ahead as to not be commercially viable. One notices that many designers have been influenced by his line and vision, Rachel Roy comes to minds. Let intellectuals debate the art issue. What SAM has done is told the story of a genius and how that genius evolved and grew using fashion to express his creativity and demons.

Dr. Wilda gives a definite thumbs up, you will be awed and challenged.

Resources:

The Turbulent Love Story Behind Yves Saint Laurent’s Revolutionary Rise                               http://www.npr.org/2014/06/24/323552220/the-turbulent-love-story-behind-yves-saint-laurents-revolutionary-rise

Yves Saint Laurent, Giant of Couture, Dies at 71                                                                    http://www.nytimes.com/2008/06/02/fashion/02laurent.html

Which Yves Saint Laurent Biopic Should You Watch?                                                             http://fashionista.com/2015/05/which-yves-saint-laurent-biopic-is-better

Fondation Pierre Bergé – Yves Saint Laurent                                                                    http://www.fondation-pb-ysl.net/en/Accueil-825.html

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Dr. Wilda Reviews: ChocZero chocolates

29 Sep

Moi received three complimentary boxes of ChocZero chocolates. The boxes for the samples moi received were understated and elegant. The samples were 50% cocoa dark chocolate, 70% cocoa dark chocolate, and milk chocolate. ChocZero is a brand of Snapfit located in Fullerton California. Olive Nation defines the qualities of great chocolate in The Qualities of Good and Great Chocolate:

The bottom line for defining a great chocolate is the amount of cocoa solids present. The percentage should be a minimum of over 45 percent for dark chocolate and 30 percent for milk chocolate. Truly great chocolates have cocoa solids over 70 percent. Many of the finest chocolates also have their origins as coming from one geographical location which can change the taste of the chocolate dramatically.

One test to find out whether or not the chocolate you have purchased is to let a bit sit in your mouth without chewing or masticating the piece. Quality chocolate will melt in your mouth. Why? The content of the cocoa butter is what makes the chocolate melt in your mouth and provides its distinctive texture and flavor. Today most mainstream chocolate manufacturers have chosen to reduce the amount of cocoa butter in their products replacing this all-important ingredient with cheaper and nastier fats. This of course allows the manufacturers to offer their products at a much lower price. So what do you look for on the label? Does the label on the bar or box clearly indicate that it is truly chocolate?

Of course you should carefully read the ingredients. Great chocolate should contain no more than about 6 ingredients and contain the percentage of cocoa solids as outlined above….                                                    https://www.olivenation.com/the-qualities-of-good-and-great-chocolate/

The ChocZero site describes the product.

According to ChocZero, the ingredients are:

ChocZero is an all-natural, premium, artisan-style chocolate made with no added
sugar or sugar alcohols (sorbitol, mannitol, erythritol, xylitol). Sugar, commonly used
in chocolate confections, was replaced with a healthy, natural, soluble vegetable fiber
and naturally sweetened with monk fruit extract.
ChocZero comes in three delectable varieties to suit individual taste preferences:
50% Dark Chocolate, 70% Dark Chocolate and Milk Chocolate.
Each 10-gram chocolate square is individually foil-wrapped.

ChocZero – Box of 6

$4.99

Free Shipping on Orders $35 and Over

Variants:

70% Dark 50% Dark Milk Chocolate

http://shop.snapfit.com/products/choczero

Sugar is not an ingredient.

Kerry Torrens, nutritional therapist wrote in The truth about sugar:

The instant ‘lift’ we get from sugar is one of the reasons we turn to it at times of celebration or when we crave comfort or reward. However, even those of us without a sweet tooth may be eating more than we realise because so many everyday processed foods, from cereals and bread to pasta sauce and soups contain sugar….                                                                                                                                                                    http://www.bbcgoodfood.com/howto/guide/truth-about-sugar

There are many medical reasons for reducing sugar in one’s diet. The issue for many reduced or sugar free products is can palates educated to the taste of sugar adapt to a different option?

Elaine Magee, MPH, RD wrote about sugar free chocolate in Taste Test: Sugar-Free Chocolate: Can sugar-free chocolate compare to the real thing?

To sweeten “sugar-free” chocolate, most companies use maltitol, a sugar alcohol that is 90% as sweet as sugar (“sugar alcohol” is a somewhat misleading term, as these are neither sugar nor alcohol). This type of sugar replacer (a group that also includes sorbitol, xylitol, mannitol, and isomalt) is particularly helpful to people with diabetes, because only a portion of it is digested and absorbed. And the part that is absorbed through the intestinal tract is absorbed slowly, so there’s a relatively little rise in blood sugar.

Kristen McNutt, PhD, JD, nutrition communications consultant to isomalt maker Palatinit, says sugar alcohols give the taste of sugar with only half the calories. Further, she says, they don’t cause cavities, and don’t cause your blood glucose to go up as high as it would if you ate sugar…

‘Sugar-Free’ Doesn’t Mean ‘Fat-Free’

Its sweetness, however, is only one reason the taste of chocolate appeals to so many of us. The other is cocoa butter. And because cocoa butter is rich in saturated fat, so are many of these sugar-free products….

Side Effects

Here’s another reason to make sure you enjoy these sweets in moderation: In fine print on most packages of sugar-free chocolate is a warning: “Excessive consumption may cause a laxative effect.”

This is thanks to the part of the sugar alcohol that isn’t absorbed. It goes through the intestinal tract and gets digested by bacteria of the gut. Discomfort ranging from gas to diarrhea can result — depending on how much of the chocolate you consume and your individual intestinal tract…. http://www.webmd.com/food-recipes/features/taste-test-sugar-free-chocolate#1

ChocZero is a good option for those who want sugar free chocolate.

The 50% cocoa ChocZero was not luscious enough for moi’s palate given that the taste of sugar was missing. The chocolate was good, but it just did not have the richer taste of the 70% cocoa recipe. The milk chocolate was in the middle.

Dr. Wilda gives a thumbs up to the 70% cocoa receipe.

Resources:

ChocZero offers sugar-free chocolate that meets demand for natural, clean labels

http://www.foodnavigator-usa.com/Manufacturers/ChocZero-offers-sugar-free-chocolate-that-is-natural-clean

The Dieter’s (and Diabetic Person’s) Guide to Buying Chocolate                                                 http://www.webmd.com/diabetes/features/the-dieters-and-diabetic-persons-guide-to-buying-chocolate

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Dr.Wilda©                                                                                                                           https://drwilda.com/

 

Dr. Wilda Reviews Seattle Asian Art Museum Reboot

29 Sep

Moi was one of local media invited to attend a press conference which described the current status of the Seattle Art Museum’s (SAM) reboot of the Asian Art Museum. Bryan Cohen   of the Capital Hill Blog provides context in In 2017, Volunteer Park’s Asian Art Museum to close for 18 months for $45M overhaul:

The art museum at the heart of Volunteer Park is preparing for its first major upgrade since it opened its doors 83 years ago. Seattle Art Museum has begun soliciting contractors for an overhaul to its Asian Art Museum that will include adding at least 7,500-square-feet of new gallery and event space, as well as an education studio and art storage space.

SAM plans to close the museum in the spring of 2017 for about 18 months until work is complete. Plans also call for replacing the heating and A/C systems, remodeling the bathrooms, accessibility upgrades, and seismic improvements.

The $28 million project was initially slated to start in 2008 but was delayed due to the financial crisis and collapse of Washington Mutual, which resulted in a “substantial” loss of revenue for the museum. A 2014 agreement approved by the City Council reactivated $11 million of city funds for the project — funds first set aside as part of the 2008 parks levy.

UPDATE: CHS asked for the budget on the project — the $28 million covers only construction. The total planned cost for the overhaul is $45 million, SAM now tells CHS.

“SAM is in the preliminary planning phase of the Asian Art Museum renovation,” a SAM spokesperson writes. “The anticipated total cost for the project is currently estimated to be in the neighborhood of $45 million, but is dependent on the final design to be revealed later this year.”

The building’s Art Deco facade will remain in tact, but some exterior work will be part of the overhaul. The landmarks protected building will also require the approval of the city’s Architectural Review Committee. A spokesperson for SAM said the museum did not have additional details as it is still working with LMN Architects on the designs….                                   http://www.capitolhillseattle.com/2016/06/in-2017-volunteer-parks-asian-art-museum-to-close-for-18-months-for-28m-overhaul/

The project has funds already committed from King County and SAM is hopeful that it will receive funds from Seattle and the State of Washington.

Moi asked two questions during the press conference and after the press conference more questions came to mind. During the press conference moi asked:

  1. Does the update mean that more artifacts now in storage will be permanently displayed?
  2. Since the education space in the proposed building is expanded, does that mean there will be more education programs open to the public?

The questions which moi had after the presentation are:

  1. Given that the expansion is a public-private partnership, why did the public members agree to provide the funds? What is the accountability for the dispersal of the funds, are there benchmarks, and what is the public benefit. This question should probably be addressed to the public bodies.
  2. Does this project fit into the general purpose of the question what is a museum?

A representative of SAM was unsure, at this point, about the amount of new exhibit space and the plan is toward more education programs.

SAM Asian Museum is interesting for a number of reasons including the building and the fact that it is sited at Volunteer Park   http://volunteerparktrust.org/history/  Both the Asian Art Museum and park are on the National Historic Registry and Seattle Landmark Registry. Both the building and park have vocal supporters who are protective of each venue and that loyalty presents challenges to any update or change. Eugene Dillenburg in What, if Anything, Is a Museum?

The Heart of the Matter

Exhibits, I will argue, are the defining feature of the museum. They are what make us different from every other type of public service organization. Exhibits are how we educate. Exhibits are what we do with our collections. Yes, we do other things as well, and those things—research, publication, outreach, programming—are very important. But those things are not unique to the museum. Only the museum uses exhibits as its primary means of fulfilling its public service mission.

Thus, a more robust definition of a museum might be: an institution whose core function

includes the presentation of public exhibits for the public good.A museum can do many things, but to merit that title it must do exhibits….                                                                                      http://name-aam.org/uploads/downloadables/EXH.spg_11/5%20EXH_spg11_What,%20if%20Anything,%20Is%20a%20Museum__Dillenburg.pdf

Dillenburg provides the rationale for the current reboot.

SAM makes the following points at the SAM site:

PRESERVE TODAY. INSPIRE FOREVER.

From its cherished Art Deco façade to the lush urban greenspace that surrounds it, the Asian Art Museum is one of the most beloved treasures in our creative, cultured, and curious city. As SAM’s original home and the heart of beautiful Volunteer Park, the museum is an invaluable anchor in our city’s rapidly changing landscape.

But did you know that our historic museum hasn’t been substantially restored or renovated since its inception in 1933? Join us in this long-overdue initiative to renovate a beloved cultural landmark and preserve a quintessential Seattle experience forever.

Restoring an icon

Think about the first time you saw the Asian Art Museum’s magnificent Art Deco exterior. Or when you played atop the famed camels flanking the front doors—then crossed the threshold to experience exceptional art from around the globe.

These are the experiences that shape Seattle’s visual fabric. The Asian Art Museum has been a part of this shared history since 1933, when Paris-trained architect Carl Gould put the final touches on the museum’s stunning design. In the same year, museum founder Dr. Richard E. Fuller donated to the museum to the city as the first home of SAM, which would eventually be named to the Washington Heritage Register of Historic Places.

In a city where change is as constant as rain in the forecast, our renovation plan ensures the museum’s future.

Protecting our collection

From majestic Buddha sculptures to our iconic early 17th-century Japanese Crows screens to the recently acquired Colored Vases by Chinese artist Ai Weiwei, our collection has been imaginatively curated and expanded for 80 years.

Our renovation plan will help us safeguard these precious works through significant improvements in our heating and cooling systems, art storage, and conservation space. These necessary renovations will help us preserve our treasured collection so that it may be enjoyed for generations to come.

Connecting with Asia

The rich programming of the Asian Art Museum has long explored fascinating, diverse perspectives on Asian history and culture and Asia’s presence in the world. With special exhibitions like Garden and Cosmos: The Royal Paintings of Jodhpur and Chiho Aoshima: Rebirth of the World, the popular Gardner Center for Asian Art and Ideas Saturday University lecture series, and our lively Free First Saturday events for families, our mission is to provide a deep, multi-faceted understanding of Asia, one of the most significant cultural and economic regions in the world.

Our exciting renovation plans include expanding our already exhilarating programming and exhibition and educational spaces, allowing all of us to connect with the continent’s cultures as never before.

ENHANCING AND EXPANDING OUR SPACE

After the proposed expansion, doors in the Fuller Garden Court will lead to a brilliant new glass addition, providing views to Volunteer Park, a welcoming green space in our increasingly dense city, and long one of Seattle’s favorite Olmsted Parks. The modest addition will create a new gallery and more space for our community to gather around art and culture, enjoy public programs, and host events. It will also improve circulation to meeting rooms, education spaces, library, and auditorium.

http://www.seattleartmuseum.org/inspire

The architect renderings are impressive and the primary issue in moi’s analysis is what this project would do to impact future exhibit. Clearly, the mechanical updates are needed and necessary to upgrade the types of exhibits which come from other museums and collectors worried about the delicate nature of some artifacts. An huge unanswered question is whether more items in the permanent collection will see the light of day.

Dr. Wilda gives a cautious thumbs up to the renovation.

Here is the 2007 Fiscal Note:

Form revised October 26, 2007

FISCAL NOTE FOR CAPITAL PROJECTS ONLY

 

Department: Contact Person/Phone: DOF Analyst/Phone:
Department of Parks and Recreation Kevin Stoops / 684-7053

 

Jan Oscherwitz / 684-8510

 

Legislation Title:
 AN ORDINANCE related to the Seattle Art Museum, authorizing the execution of an agreement  between the Seattle Department of Parks and Recreation and the Seattle Art Museum, concerning their roles in the planning and design of the restoration of the Seattle Asian Art Museum in Volunteer Park, modifying the City’s obligations under the Construction and Finance Agreement between the said parties for work on public park property associated with Olympic Sculpture Park, and amending the Seattle Department of Parks and Recreation 2007 Adopted Budget, including the 2007-2012 Capital Improvement Program, by modifying appropriations to various budget control levels.

 

Summary and background of the Legislation:

 

This proposed legislation authorizes the Superintendent of the Department of Parks and Recreation to execute an agreement between the City of Seattle (City) and the Seattle Art Museum (SAM) for designing the restoration of the Seattle Asian Art Museum (SAAM) in Volunteer Park.  This agreement allows SAM to serve as the City’s agent in restoration of SAAM through the permitting process.  It also modifies the City’s obligations under the Construction and Finance Agreement between the City and SAM for work on public park property associated with Olympic Sculpture Park (OSP), and transfers appropriations from the OSP Projects to the SAAM Restoration project.

 

The City and SAM have had a long-term relationship and operating agreement regarding the museum building in Volunteer Park currently known at the Seattle Asian Art Museum (SAAM). As part of a 1931 agreement authorized by Ordinance 61998, SAM (formerly the Art Institute of Seattle) agreed to provide funds to build and operate the museum and the City agreed to fund utility costs and janitorial services and keep the facility in good repair.  The building was completed in 1933 at a cost of more than $250,000.  Additions were constructed at City and SAM expense in 1947, 1954, 1959, and again in 1969.  The agreement between the City and SAM was most recently amended in 1981 through Ordinance 109767.  In that agreement, the parties agreed to cooperate in assessing the need for capital improvements and in seeking City funding as well as public and private grants for those improvements.  In the last 20 years, the City has spent about $3.2 million on capital repairs and improvements to SAAM.

 

In 2006, SAM commissioned a study by LMN Architects, McKinstry Essention, Inc., and Sellen Construction that recommended replacing SAAM’s original 1933 boiler and related ductwork, adding a chiller plant and humidification and air handling systems to reduce energy costs, and making significant structural improvements to the building to address seismic concerns at an estimated cost of $23.2 million.  The Department of Parks and Recreation (DPR) anticipates hiring a consultant to critique this work with funds provided through the 4th Quarter Supplemental Ordinance.

 

With the approval of this legislation and after completion of DPR’s technical review, SAM will continue design work on mutually agreed upon renovations and act as the City’s agent to secure permits and other regulatory approvals.  Funds from the work will come from a transfer of City money originally pledged to OSP.  SAM has recently been awarded $2 million of additional funds from the Kreielsheimer Remainder Foundation, freeing up City funds for use at SAAM.  The Board of Trustees of SAM has agreed to reduce the amount of City financial obligation for OSP by $2 million, conditioned on the City re-appropriating those funds for exclusive use in planning and pre-construction activities associated with the SAAM restoration project (see Attachment 1 – letter from SAM Board Chair, Jon Shirley).

 

This legislation does not commit the City or SAM to the construction of improvements at SAAM.  These will be negotiated in a future agreement and will be considered in future legislation or as part of a future budget process.

http://clerk.ci.seattle.wa.us/~clerkItems/fnote/116100.htm

Resources:

Seattle Residents Protest Asian Art Museum’s $45 Million Expansion Project                           http://artforum.com/news/id=63170

A brief history of the Seattle Art Museum                                                                                     http://www.seattlepi.com/ae/article/A-brief-history-of-the-Seattle-Art-Museum-1235822.php

Seattle Asian Art Museum Improvements                                                                               http://www.seattle.gov/parks/about-us/current-projects/seattle-asian-art-museum-improvements

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Dr. Wilda Reviews: ‘Luke and Linda Learn What a Bank Can Do’

7 Aug

Moi received a complimentary copy of Luke and Linda Learn What a Bank Can Do. Here is the information about the book:

Title What a Bank Can Do: Luke and Linda Learn
Author John Tuzee
Publisher Kids Life Press, 2012
ISBN 0975534882, 9780975534885

Financial literacy is not only an issue for adults, but is a topic that children should be taught. Investopedia defines financial literacy in the article, Teaching Financial Literacy To Kids: Introduction:

Financial literacy is the ability to use knowledge and skills to make effective and informed money management decisions. Personal financial literacy encompasses a range of money topics, from everyday skills such as balancing a checkbook to long-term planning for retirement. While literacy – the ability to read and write – is a fundamental part of the education system, financial literacy is often left out of the equation. In the United States, fewer than half of states have any financial literacy requirements for their K-12 education systems, and only four states require high school students to take personal finance classes.

While there is a movement to include more finance-related coursework in elementary, middle and high school settings, parents and guardians are the primary educators when it comes to teaching children the skills they need to develop a strong foundation for life-long financial competence. Many adults, however, avoid talking to kids about money, because they lack confidence in how they’ve handled their own finances. This is unfortunate, because adults have two things that children do not when it comes to finances: experience and perspective. You do not have to be a financial rock star with a perfect track record to teach your child personal finance basics and get the money conversation started. If your finances are currently in a mess, you can work to get them in order and be a positive role model.
http://www.investopedia.com/university/teaching-financial-literacy-kids/

Tuzee’s book is a good basic primer about the financial system. The themes of the book are financial literacy and teaching an understanding of the banking system. It is basic knowledge, but Tuzee does a great job.

Moi liked the book because the illustrations were colorful and sure to catch a child’s eye. The graphics and pictures were good. Concepts were explained clearly and the text flowed.

The age range for the book could be from about five years on. Yes, even some older children could benefit from the book because the level of financial literacy in the country is low among many populations. The cover is great because it lets the reader know exactly what the book is about. There is also good and concise biography information about the author and the illustrator on the cover.

Moi loved the book and would highly recommend the book to parents who are interested in teaching their children about the banking system.

Here is the press info about the book:

Union Bank Partners With Nationally Recognized Children’s Authors To Teach Kids About Money

Survey reveals more than three fourths of U.S. youth want to learn more about how to save money.

“We want to spread the word about What a Bank Can Do and the important story it tells,” says Leis. “The book is a great addition to John and Diane Tuzee’s collection and especially relevant for Union Bank and the financial industry at large.”

SAN FRANCISCO, CA (PRWEB) July 11, 2013

In an effort to demonstrate its commitment to responsible banking and financial education, Union Bank, N.A., today unveiled a new, limited edition children’s book, What a Bank Can Do, by nationally recognized children’s authors John and Diane Tuzee. The bank also announced the results of its national YouthQuery survey, conducted online by Harris Interactive® from June 13-26, 2013, providing insight into the financial needs and desires of 8 to 18 year olds.

The survey of more than 1,200 U.S. youth reveals that 83 percent agree that they should spend less of their money in order to save more, and 76 percent want to learn more about how to save money. Eighty percent agree it is very important for someone their age to have a savings account, and the majority of U.S. youth also want to talk more with the adults in their life (e.g., parents, teachers) about how to save money (63 percent) and wish they had better sources of information about how to save money (61 percent).

“This study is eye opening, and confirms that our nation’s youth are hungry for knowledge, including learning and talking more about how to save with teachers, parents and other adults,” says Union Bank Executive Vice President George Leis, regional president for the bank’s Central Coast division, which is hosting a special book signing in San Luis Obispo with the Tuzees in July. “What a Bank Can Do tells a great story about the importance of saving and the role that banks have in our communities and our nation, and we hope it will be a fun learning tool for all adults to share with the youth in their lives. Educating and empowering youth using tools like this book will help build and sustain strong communities for the future.”

Colorful and easy-to-read, What a Bank Can Do explores the fun and importance of saving money through its main characters Luke and Linda, who first learn with their toy banks and later with their own bank accounts. With rhyming verse-text, the book reminds children of “one thing that’s kind of simple…always save more than you spend…” To help tell its story, What a Bank Can Do also features bold, lively illustrations by Mike Kasun, a nationally recognized commercial artist.

“It was clear to us that there’s a great need for books like What a Bank Can Do and other learning materials,” says Leis. “We support financial education throughout the year at Union Bank, and it is one of our core areas of philanthropic giving – supporting this book is a natural continuation of our commitment.”

Union Bank provided underwriting support for the development and initial distribution of What a Bank Can Do, donating many copies to schools and youth groups. The Tuzees hope the story, a 30-page journey sure to please the young and young-at-heart, will generate interest from other underwriters to support additional copies. “We’re pleased that Union Bank stepped up to support our initial print of nearly 5,000 copies, and we want to create a demand for more books,” says John Tuzee.

“We want to spread the word about What a Bank Can Do and the important story it tells,” says Leis. “The book is a great addition to John and Diane Tuzee’s collection and especially relevant for Union Bank and the financial industry at large.”

To preview What a Bank Can Do online, please click here: What_A_Bank_Can_Do.pdf.

Survey Methodology
Harris Interactive® conducted the survey online within the United States on behalf of Union Bank from June 13-26, 2013, among 1,211 8-18 year olds. Results were weighted as needed for age, sex, race/ethnicity, parental education, education, urbanicity and region. All sample surveys and polls, whether or not they use probability sampling, are subject to multiple sources of error which are most often not possible to quantify or estimate, including sampling error, coverage error, error associated with nonresponse, error associated with question wording and response options, and post-survey weighting and adjustments. Therefore, Harris Interactive avoids the words “margin of error” as they are misleading. All that can be calculated are different possible sampling errors with different probabilities for pure, unweighted, random samples with 100% response rates. These are only theoretical because no published polls come close to this ideal. Respondents for this survey were selected from among those who have agreed to participate in Harris Interactive surveys. The data have been weighted to reflect the composition of the U.S. 8-18 year old population. Because the sample is based on those who agreed to be invited to participate in the Harris Interactive online research panel, no estimates of theoretical sampling error can be calculated.

About UnionBanCal Corporation & Union Bank, N.A.
Headquartered in San Francisco, UnionBanCal Corporation is a financial holding company with assets of $97 billion at March 31, 2013. Its primary subsidiary, Union Bank, N.A., is a full-service commercial bank providing an array of financial services to individuals, small businesses, middle-market companies, and major corporations. The bank operated 443 branches in California, Washington, Oregon, Texas, Illinois, and New York as well as two international offices, on March 31, 2013. UnionBanCal Corporation is a wholly-owned subsidiary of The Bank of Tokyo-Mitsubishi UFJ, Ltd., which is a subsidiary of Mitsubishi UFJ Financial Group, Inc. Union Bank is a proud member of the Mitsubishi UFJ Financial Group, one of the world’s largest financial organizations. In July 2013, American Banker Magazine and the Reputation Institute ranked Union Bank #1 for reputation among its customers. Visit http://www.unionbank.com/ for more information.

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Other Reviews:

Book Review: Luke and Linda Learn What A Bank Can Do

http://www.youtube.com/watch?v=KpFOOTdl6Ec (Preview)

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Book Review: Luke and Linda Learn What A Bank Can Do

Soyouthinkyoucanmom

Recorded on August 1, 2013 using a Flip Video camera.

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