Dr. Wilda Reviews: American Artist Jacob Lawrence’s Migration Series at SAM

12 Feb

Moi joined the press preview of American Artist Jacob Lawrence’s series “The Migration Series” which was exhibited in it’s entirely from the collections of The Museum of Modern Art and The Phillips Collection at the Seattle Art Museum (SAM). Rarely, has the entire collection been seen. The series explores the migration of African Americans from the South to the North. Here are the details:

Jacob Lawrence: The Migration Series
Sat Jan 21 – Sun Apr 23 2017
Seattle Art Museum
Third Floor Galleries

The History Chanel describes the Great Migration:

After the post-Civil War Reconstruction period ended in 1876, white supremacy was largely restored across the South, and the segregationist policies known as Jim Crow soon became the law of the land. Southern blacks were forced to make their living working the land as part of the sharecropping system, which offered little in the way of economic opportunity, especially after a boll weevil epidemic in 1898 caused massive crop damage across the South. And while the Ku Klux Klan (KKK) had been officially dissolved in 1869, it continued underground after that, and intimidation, violence and even lynching of black southerners were not uncommon practices in the Jim Crow South.

Did You Know?

Around 1916, when the Great Migration began, a factory wage in the urban North was typically three times more than what blacks could expect to make working the land in the rural South.   

After World War I broke out in Europe in 1914, industrialized urban areas in the North, Midwest and West faced a shortage of industrial laborers, as the war put an end to the steady tide of European immigration to the United States. With war production kicking into high gear, recruiters enticed African Americans to come north, to the dismay of white Southerners. Black newspapers–particularly the widely read Chicago Defender–published advertisements touting the opportunities available in the cities of the North and West, along with first-person accounts of success.


By the end of 1919, some 1 million blacks had left the South, usually traveling by train, boat or bus; a smaller number had automobiles or even horse-drawn carts. In the decade between 1910 and 1920, the black population of major Northern cities grew by large percentages, including New York (66 percent) Chicago (148 percent), Philadelphia (500 percent) and Detroit (611 percent). Many new arrivals found jobs in factories, slaughterhouses and foundries, where working conditions were arduous and sometimes dangerous. Female migrants had a harder time finding work, spurring heated competition for domestic labor positions.

Aside from competition for employment, there was also competition for living space in the increasingly crowded cities. While segregation was not legalized in the North (as it was in the South), racism and prejudice were widespread. After the U.S. Supreme Court declared racially based housing ordinances unconstitutional in 1917, some residential neighborhoods enacted covenants requiring white property owners to agree not to sell to blacks; these would remain legal until the Court struck them down in 1948…. http://www.history.com/topics/black-history/great-migration

Lawrence’s 60 panels tell the story about this movement of African American people and culture.

The Phillips Collection provides a concise biography of Mr. Lawrence:

JACOB LAWRENCE (1917–2000)

A celebrated painter, storyteller, and interpreter of the African-American experience, Jacob Lawrence was born in Atlantic City in 1917 to a couple who had moved from the rural South to find a better life in the North. After their parents separated, Lawrence and his two younger siblings lived in settlement houses and foster homes in Philadelphia until their mother could support them in New York. He came to New York in 1930, at the age of thirteen, and quickly discovered art as a means of expression. Lawrence’s education in art was both informal—observing the activity and rhythms of the streets of Harlem—and formal, in after-school community workshops at Utopia House and later at the Harlem Art Workshop. At both centers he was able to study with the prominent artist, Charles Alston, and in the course of his work, he became immersed in the cultural activity and fervor of the artists and writers who led the Harlem Renaissance, Alston among them. Lawrence received a scholarship to the American Artists School, and he began to gain some notice for his dramatic and lively portrayals of both contemporary scenes of African-American urban life as well as historical events, all of which he depicted in crisp shapes, bright, clear colors, dynamic patterns, and through revealing posture and gestures. Lawrence’s mother had hoped he would choose a career in civil service, but members of the creative community, including poet Claude McKay and sculptor Augusta Savage, encouraged him to become an artist. He was painting, he said, “a portrait of myself,” in his portraits of the Harlem community. In 1938, Lawrence had his first solo exhibition at the Harlem YMCA and started working in the easel painting division of the WPA Federal Art Project. In 1940, he received a grant from the Rosenwald Foundation to create a series of images on the migration of African-Americans from the South. The painter Gwendolyn Knight assisted him on the captions for the images and initial coating of the panels. They married in 1941. The same year The Migration of the Negro series had its debut at the Downtown Gallery. Lawrence was the first artist of color to be represented by a major New York gallery, and the success of this exhibition gave him national prominence.

Lawrence was active as both a painter and art educator. He taught at Black Mountain College in North Carolina in 1946, and later at the Skowhegan School of Painting and Sculpture in Maine and the New School for Social Research in New York. In 1971, Lawrence became a professor of painting at the University of Washington in Seattle. In his later career he was also known for his serigraphs (silkscreens), many of them versions of series of paintings completed in earlier years, as well as for his book illustrations. Lawrence was still drawing and painting in preparation for still another series of works when he died in Seattle in 2000.             http://www.phillipscollection.org/research/american_art/bios/lawrence-bio.htm

Mr. Lawrence agreed to a joint purchase of The Migration Series.

The Whitney Museum described The Migration Series:

I don’t think in terms of history about that series. I think in terms of contemporary life. It was such a part of me that I didn’t think of something outside. It was like I was doing a portrait of something. If it was a portrait, it was a portrait of myself, a portrait of my family, a portrait of my peers.
Jacob Lawrence1

In 1940 Jacob Lawrence received a $1,500 fellowship from the Rosenwald Foundation to complete a series of panels on the  Great Migration. Lawrence conducted research at The  Schomburg Collection in Harlem and completed the series in 1941.

I did plenty of research in books and pamphlets written during the migration, and afterward…I took notes. Sometimes I would make ten or twenty sketches for one incident…By the time I started work on the (Migration Series), I was more conscious of what I wanted to do. I was looking consciously at things and for things.
Jacob Lawrence2
Although the series was originally meant to remain together as one work, that winter the artist agreed to a joint purchase by  The Museum of Modern Art and the  Phillips Collection.

Lawrence’s Migration Series depicts the migration of African Americans from the rural South to the urban North during and after World War I. The Great Migration was the largest movement of black people since slavery removed Africans to the Americas. Lawrence’s sixty panels portray the story of people seeking a better life. The captions for each image combine history, sociology, and poetry in a visual narrative.

The railroad is the link in the series of events that comprise Lawrence’s epic story. The narrative cycle begins and ends with images of a train station. In the first panel, African Americans embark on their journey from the South to the North, through time and geography, conflict and hope. Scenes of the train station are repeated throughout the series ending with the text “And the migrants kept coming.”

In the first half of the series, the South is depicted as a bleak, rustic landscape where social inequities and injustice prevail–poverty, hunger, segregation, lynching, and discrimination are commonplace facts of life. Some scenes are portrayed as if seen from a moving train; the North appears only as names of train destinations.

In contrast to the environment of the South, the second half of the narrative depicts the buildings, people, and industry of the urban North. The final section of The Migration Series focuses on the new African-American communities of the North–the positive effects of improved social conditions as well as the ensuing conflicts of overcrowding and race riots.                                                                                                   https://whitney.org/www/jacoblawrence/art/migration_series.html

The August 4 SAM press release described SAM’s involvement. http://www.seattleartmuseum.org/Documents/Migration%20Series_press%20release.pdf

Moi was struck by the comment of Barbara Earl Thomas, who in addition to being a student of Mr. Lawrence is the current Vice President of the Jacob and Gwendolyn Lawrence Foundation. Ms. Thomas said emphatically, “It is fitting and timely that Jacob Lawrence, great American Painter, be celebrated by those who knew him and loved him.” That is the takeaway from the exhibit. Mr. Lawrence has migrated from the box of being just an extraordinary African American painter to a great American painter in the way that Picasso was a great Spanish painter who captured the soul of his country with Guernica http://www.pablopicasso.org/guernica.jsp Those who are masters of their craft migrate beyond time and culture to embrace an audience that has no boundaries of age, race, or culture. Good art has the ability to move people.

A comment moi and others have made when first seeing the Mona Lisa at the Louvre is that it is so small. Like the Mona Lisa, the panels are very small. At another viewing, one might remark, the art is not small, but one has grown and now appreciates the meaning.

For those who are not only interested in great art, but one American master’s observation of a thread that has been woven into the fabric of the American people, The Migration Series is a must see. A definite thumbs up from Dr. Wilda.

Other Reviews:

‘Jacob Lawrence: The Migration Series,’ by Leah Dickerman and Elsa Smithgall               https://www.nytimes.com/2015/06/28/books/review/jacob-lawrence-the-migration-series-by-leah-dickerman-and-elsa-smithgall.html?_r=0

Telling the Whole Story: Jacob Lawrence’s “The Migration Series.”                                   http://www.newyorker.com/magazine/2015/04/20/telling-the-whole-story

An Artistic Feast: Jacob Lawrence’s 60-Piece Migration Series on Display in NYC      http://www.theroot.com/an-artistic-feast-jacob-lawrence-s-60-piece-migration-1790859414


Jacob Lawrence: Exploring Stories – Whitney Museum of American Art                                   http://whitney.org/www/jacoblawrence/meet/

The Jacob and Gwen Knight Lawrence Visual Resource Center                                                  http://www.jacobandgwenlawrence.org/

Jacob Lawrence facts, information, pictures                                                                               http://www.encyclopedia.com/people/literature-and-arts/american-art-biographies/jacob-lawrence

Elizabeth McCausland, “Jacob Lawrence,” in Ellen Harkins Wheat, ed., Jacob Lawrence: American Painter (Seattle: University of Washington Press in association with the Seattle Art Museum, 1986), p. 60.

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©


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:


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.


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.


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.


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.


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.


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.”


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.


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

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:



Dr. Wilda Reviews ©


Dr. Wilda ©


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


Free Shipping on Orders $35 and Over


70% Dark 50% Dark Milk Chocolate


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.


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


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

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

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:


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.


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.


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



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.



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

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

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

Dr. Wilda Reviews: QDOBA Mexican restaurant

27 Mar

Moi received a complimentary meal and swag bag in consideration of her attendance at an event scheduled for food reviewers and bloggers in the recently opened QDOBA restaurant in Seattle, WA. The invitation was accepted because:

  1. The new QDOBA now occupies the site of the former Azteca restaurant which was a neighborhood hangout in the University Village area of Seattle. The Azteca chain is now defunct.
  2. A competitor in the casual dining segment was and is facing severe fallout from issues related to norovirus and E. Coli. See,  Chipotle Faces No-Win Scenario as Crisis Taints Every Move    http://www.bloomberg.com/news/articles/2016-03-16/chipotle-faces-no-win-scenario-as-crisis-taints-its-every-move
  3. Moi wanted to review the menu, construction and decoration of the new restaurant.

The reviewer’s event was promoted as an opportunity to meet the district manager, marketing staff and local staff of the new restaurant.  Moi sent the following email:

Hi Kaitlin,

i will review for Dr. Wilda Reviews so interested in food sourcing, calorie content and steps your chain is taking to prevent E Coli and Norovirus. Also interested in any menu changes and why

University Village serves an interesting demographic which includes the University of Washington and University Village, an upscale shopping center.  https://uvillage.com/directory/  The University Village QDOBA site is one of the premium locations for the chain:

University Plaza                                                                                                                                         5025 25th Ave Ne                                                                                                                                          Ste 101                                                                                                                                                   Seattle, WA 98105

QDOBA is testing wine and beer service at the University Village Location.  The basic menu can be found at https://www.qdoba.com/menu-nutrition

QDOBA is owned by Jack in the Box:

This chain can trace it origins to the opening of the Zuma Fresh Mexican Grill in 1995 by Colorado native Anthony Miller and partner Robert Hauser at Grant Street and Sixth Avenue in Denver.[7][8]

As of 2013, Qdoba operates over 600 fast casual restaurant locations throughout the United States.[21] In 2003, San Diego-based Jack in the Box company acquired the chain from ACI Capital, a private equity management firm that was the outgrowth of commodity-trader A.C. Israel Enterprises in the 19th century.[4]                                                                                                                                                                                               https://en.wikipedia.org/wiki/Qdoba_Mexican_Eats

Jack in the Box the box changed food handling protocols as a result of its E.coli problems.  Phaedra Cook of the Houston Press wrote in 10 Lessons Chipotle Must Learn From Jack In The Box and Taco Bell http://www.houstonpress.com/restaurants/10-lessons-chipotle-must-learn-from-jack-in-the-box-and-taco-bell-8075499  The QDOBA staff said that their response is that everything is made fresh every day and that they don’t have a big walk-in-freezer because they aim for local sourcing. Their canned wine comes from Colorado and the beer which is served on tap is local:

Manny’s Pale Ale

Kolsch dru Bru

Hillard’s Boombox IPA

Schwarzbier Dru Bru

Moi asked whether they thought there might be an issue with Colorado wine, but the reply was it paired well with the food and it did. The Schwarzbier was really good and moi is not a beer drinker.

The décor is typical casual dining with a couple of issues. The first is there is a set of utility meters on a wall on the way to the restroom with a little fence around it, this seemed odd. The restrooms were clean. Next, there were cushions on the chairs and moi asked how they would be kept clean. The reply was they were considering whether to keep the cushions.

The food was casual Mexican fare with the following items:


Burritos and Bowls

Our large Mission-style burritos offer endless combinations of only the freshest, most flavorful ingredients. Have yours made just the way you like it. (340 – 1175 cal)

Loaded Tortilla Soup

Warm up with Loaded Tortilla Soup. Piping hot with your choice of savory meats and all the toppings you can handle like sour cream, Queso, and of course guac. All loaded into a crunchy tortilla bowl. (430 – 845 cal)

3-Cheese Nachos

If you’re planning on sharing, don’t. Order two. Because you’ll want these 3-Cheese-Queso-smothered-chips all to yourself. (860 – 1215 cal)

Grilled Quesadillas

Lightly grilled and with the cheese melted to perfection, it’s no surprise they’re so satisfying. (700 – 970 cal)

Taco Salads

Dig into crisp lettuce, seasoned black bean corn salsa and a fat free Picante Ranch Dressing. Finish up by eating the bowl. You read right. Eat the bowl. (150 – 835 cal)

Chips & Dip

Handcut and made in-house daily, our chips make the perfect addition to any meal and yet are flavorful enough to enjoy on their own. (290 – 950 cal)                                                                    https://www.qdoba.com/menu-nutrition

Of course there is guacamole which was a bit too bland for moi’s taste, but the Diablo quesa had just the right amount of spiciness for moi and the habanera was wonderful. The marketing is aiming to make this QDOBA a neighborhood hangout with $2 craft brew Thursdays and Friday Happy Hour where all drinks are a $1 off after 3 p.m.

Overall, moi enjoyed the food, beer and wine. Her favorites were the loaded tortilla soup, Diablo quesa and beer which pairs well. Since protein can be added or deleted, a group which includes vegetarians can be accommodated. This is a moderately priced casual restaurant where one could choose to linger or get take-out. Dr. Wilda recommends this QDOBA for those in the University District or who want moderately priced casual dining after a hard day of shopping at University Village.

Dr. Wilda gives University Village QDOBA a thumbs up.

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©

Dr. Wilda Reviews: KBTC and NHK partnership

8 Mar

Moi attended the Seattle launch event for the partnership between KBTC, a U.S. public television station, and NHK the Japanese public television station. Here is a bit about NHK:

NHK, Nippon Hoso Kyokai (Japan Broadcasting Corporation), is Japan’s only public broadcaster.
As a public broadcaster funded by fees received from TV viewers, NHK delivers a wide range of impartial, high-quality programs, both at home and abroad….

   Corporation name Nippon Hoso Kyokai (NHK)
※ English : Japan Broadcasting Corporation
Headquarters NHK Broadcasting Center
2-2-1 Jinnan, Shibuya-ku, Tokyo 150-8001, Japan
TEL: +81-(0)3-3465-1111
President Katsuto Momii
Foundation June 1, 1950 (Date of re-establishment of NHK as Japan’s public broadcaster)

– NHK’s predecessor, Tokyo Broadcasting Station, broadcast its first radio program in March 1925.

– NHK was founded in 1926 through the merger of three broadcasting stations, including Tokyo Broadcasting Station. NHK was later re-established as a public broadcaster under the terms of the Broadcast Law.

Broadcasting Services Domestic

Two terrestrial TV channels: General TV and Educational TV

Two satellite TV channels: BS 1 and BS Premium

Three radio channels: Radio 1, Radio 2 and FM


Two television services: NHK WORLD TV (English) and NHK WORLD PREMIUM (Japanese)

Radio: NHK WORLD RADIO JAPAN (18 languages)

Number of full-time employees 10,292 (FY2014)
(as of April, 2015)
Domestic broadcasting stations

54 (including headquarters office)

Overseas offices


Budget (FY2015)

(The fiscal year runs from April 1 to March 31 of the following year.)

Total operating income

Total operating expenditure


KBTC and NHK will offer NHK world:

KBTC is proud to offer NHK World, an all English language public media television channel filled with international news; business, technology, and science information; and life styles, culture, and travel programs produced and present- ed from Japanese and Asian perspectives.NHK World will launch first for free over the air via channel 28.2. Cable carriage will follow as those partnerships are formalized in February. Fans of MHz Worldview who receive the channel with an antenna will find all your favorite international news and drama programs now on channel 28.3. Click here for more information about NHK World, including schedule and more!                                                                                                                 http://www.kbtc.org/page.php?id=1715

This partnership is important because it promotes international cultural literacy.

Kevin Johnston explained why international cultural literacy is important in Why Is It Important to Gain Cultural Literacy in International Business?

Cross-Cultural Core Competency

It’s important that you demonstrate that you are a global citizen so international customers are willing to do business with you. It’s not realistic to set a goal of gaining a deep understanding of all the cultures you may deal with in the course of growing your international marketing. Instead, aim for a core competency. According to an article in “Profit” magazine, you can look at six areas of knowledge you need: Familiarize yourself with cultural attitudes about dealing with strangers, language barriers, how groups respond to sales pitches as either favors or cut-and-dried presentations, local channels you must use for brand awareness, the technical proficiency and capacity of the country or region and how the culture views the importance of doing things on time or relaxing about meeting times and deadline dates.

Cultural Roots of Business Etiquette

You must understand how a culture views business dealings so you know what style to use when approaching businesspeople in that culture. Some cultures look at a transaction as a favor among friends, while others embrace the more American style of a straightforward discussion about making money. Still others may allow business discussions only in certain settings and frown on them at other times. Look into this aspect of the culture before you make any business proposals.

Related Reading: Cultural Communication Differences in a Business

Considering Context

You can evaluate your business transactions with a culture different from your own in light of that culture’s contextual clues. This helps you avoid gaffes and create business communications that have a positive impact. The country’s history and assumptions about Americans can affect how your message is received. Be sensitive to hot-button issues and avoid any phrases or words that could suggest you look down on the culture or that you consider the person you’re dealing with to be a second-class citizen in his own culture. This kind of cultural literacy is of utmost importance when you communicate so you can avoid unintentional negative cultural messages when conducting business.

Avoiding Americanisms

Using internationally accepted word choices and phrases ensures your business dealings won’t be misunderstood. Some American phrases do not translate well. For example, “We shall see” means “No” in China. Other phrases such as, “Flying by the seat of our pants” or “Ballpark figure” may not have any meaning at all in other cultures. Scrutinize your written communications for figurative language that may not translate. In addition, cut your verbal communications to the basics. It’s important for a company doing global business to remember that the language at its home office may not be universal….                                                                         http://smallbusiness.chron.com/important-gain-cultural-literacy-international-business-69605.html

Here is the press release from KBTC:

Press Release:

NHK World’s 24/7 English Television Service Comes to Western Washington

Through KBTC Public Television

KBTC Public Television (simulcast on KCKA) and NHK (Japan Broadcasting Corporation) sign an agreement that ensures television viewers in Seattle, Tacoma, Olympia, and all of western Washington

can access NHK WORLD’s HD programming on air via channel 28.2, 15.2,

and on Comcast via HD Channel 115  

Tacoma, WA, 02/22/2016 – NHK World, an English language public media television station broadcast from Japan, launches on Comcast Xfinity HD Channel 115 Tuesday, March 22, 2016 in partnership with local PBS station KBTC Public Television and NHK (Japan Broadcasting Corporation).

NHK World will be available to viewers throughout western Washington on cable and off air through KBTC Public Television’s terrestrial broadcast service.

KBTC Public Television which also operates KCKA in Centralia/Chehalis Washington launched NHK World in HD via channel 28.2, 15.2 in January. KBTC Public Television is one of only six of PBS Member Stations to development this partnership with NHK in the United States. The Seattle-Tacoma Designated Market Area becomes the U.S. seventh major market where NHK WORLD can be accessed via terrestrial television broadcast and on cable.

“Partnering with NHK to bring NHK World to western Washington represents KBTC Public Television’s commitment to provide viewers in our area with the opportunity to explore their world,” said Ed Ulman, Executive Director & GM of KBTC Public Television. “NHK World is a top flight broadcast service watched around the globe, and we are pleased to be their broadcast partner here in Tacoma and Seattle.”

NHK WORLD is a 24/7 English language public media service featuring original television programming produced and scheduled by NHK (Japan Broadcasting Corporation). NHK WORLD delivers a unique and diverse blend of programming featuring domestic and international news about Japanese society, politics, scientific advancement, culture, history and lifestyles. NHK WORLD is watched by television viewers around the globe and through this partnership will be available to the 4.3 million viewers throughout western Washington

The broadcast reach for KBTC/KCKA includes all western Washington communities from the Canadian border through Bellingham, Seattle, Tacoma, Olympia Centralia Chehalis onto Kelso/Longview. Viewers will find NHK World on KBTC 28.1, KCKA 15.2, Comcast HD channel 115, and through other cable services. This new television service expands on KBTC’s commitment to provide western Washington television viewers with rich media experiences that educate, inspire, and entertain.

“We are excited about this partnership with KBTC Public Television to bring our highly specialized programming to Seattle, a sophisticated community that is home to cultured citizens and thousands of Japanese-Americans,” said Mr. Yoshihiko Shimizu, President and CEO of JIB (Japan International Broadcasting Inc.) “KBTC provides an outlet for viewers to be educated, inspired and entertained. This partnership allows viewers to gain a worldly perspective on Japanese and Asian culture and news.”

NHK WORLD TV reaches over 290 million households in 150 countries and regions via local satellite and cable TV providers. The free mobile App, online live-streaming, and VOD (video on-demand) services on the website, give viewers access to NHK WORLD TV anywhere and anytime. Viewers can also connect through Apple TV and Amazon Fire TV. Presenting an extensive range of Asia-centered programming, NHK WORLD is your window to Japan, Asia, and the rest of the world.

Providing both domestic and international news to the world accurately and promptly is a hallmark of the NHK WORLD news team. Ensuring that viewers around the world have access to information on Asia from various perspectives, making the best use of NHK’s global network; serving as a vital information lifeline in the event of major accidents and natural disasters; presenting broadcasts with great accuracy and speed on many aspects of Japanese culture and lifestyles, including recent developments in society and politics, the latest scientific and industrial trends, and Japan’s role and opinions regarding important global issues is the aim of NHK WORLD.

“NHK WORLD is committed to fostering mutual understanding between Japan and other countries and promoting friendship and cultural exchange,” Ulman said. “In our interactions leading to this partnership and through an our examination of the broadcast services and programs that only NHK WORLD can provide, we have learned that NHK and KBTC share the public media values that we also promote through our PBS, BBC, APTS, NETA, EPS, MHz Worldview, and TVW programming services.”

“Comcast is excited to bring this rich collection of programming to our customers and showcase the programming and culture of this dynamic and important nation. A U.S. journalist recently described NHK World as ‘a bit like the Japanese equivalent of BBC America and BBC World Service rolled into one: a multi-language platform for blasting locally produced news and entertainment programming across the globe. It is wonderful.’ We’re delighted to bring this to Comcast customers.”  Vicky Oxley, Regional Vice President, Comcast.

About KBTC Public Television

KBTC is the South Sound’s Public Broadcasting Station. Operating out of Tacoma, Washington, KBTC is the only television broadcaster in Pierce County. KBTC is committed to telling local stories that aren’t being told anywhere else, serving underserved and diverse audiences, and connecting viewers with the people and ideas that shape western Washington. KBTC is available to 1.8 million TV households and 4.3 million viewers in western Washington, British Columbia, and Oregon. Over 900,000 viewers tune in weekly. KBTC is a viewer supported community service of Bates Technical College.

Contact: For more information, contact Cheree Apland at 253-680-7701 or by emailcapland@kbtc.org

See, KBTC NHK Web Promo: We take a quick look at NHK and what the network has to offer the Seattle/Tacoma Market http://video.kbtc.org/video/2365673281/                                                                 and NHK Launch Gala: Gala celebrations in Seattle and Tacoma for Japanese Public Television Station NHK World which now can be seen in the Seattle TV Market thanks to KBTC and Comcast. http://video.kbtc.org/video/2365678969/

Moi gives thumbs up to this partnership for a variety of reasons. First, it will help the business community develop cultural literacy for dealing with Asian cultures as NHK covers Asia. Second, this partnership will help the homeschool community teach cultural literacy.

Janice Campbell wrote in What is Cultural Literacy? And How Can it Help You Homeschool?

To be culturally literate is to understand the history and concepts that underlie a culture, and to be able to converse fluently in the allusions and informal content of that culture…..

I wouldn’t try to list everything your student should learn, but here’s my short list of what they’ll need to study for basic cultural literacy:

  • Literature (both read for pleasure and taught analytically in historic and artistic context)

  • History (in its fullest sense, encompassing all aspects of individual civilizations up to and including the present, with attention to politics, religion, science, and the arts)

  • Art and Music (including at least some applied experience, and built on a foundation of art history and appreciation)

  • Science (applied sciences to be studied on the foundation of knowledge of scientific history)

  • Logic and Mathematics (built on a solid foundation of arithmetic)

  • Rhetoric (including debate based on principles of logic, and including appropriate allusions to content from the other disciplines)                                                                          http://www.doingwhatmatters.com/what-is-cultural-literacy/

The KBTC and NHK partnership is a 24/7 channel which includes various types of programming which will assist both the business community and homeschool community attain a degree of cultural literacy for understanding Asian cultures.

Moi gives thumbs up to this partnership

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©


Dr. Wilda Reviews: Johnsonville Naturals Sausage

6 Dec

Moi was contacted by a representative for Johnsonville Naturals Sausage to provide a review of a new product entering the Seattle market. The reasons moi agreed to write the review are moi has used Johnsonville products for years and was familiar with the company as well as she was curious about the product. This is a compensated review. Here is a bit about moi’s lifestyle which makes this review relevant to many folk. She is a busy blogger and researcher and often has little time to cook gourmet meals. Often it is look in the fridge and throw together a meal from what is on hand. Given that meals have to be quick, moi attempts to have balanced meals from the various food groups.

Over the years, moi has used the following Johnsonville products:

Butcher Shop Style Smoked Bratwurst

Johnsonville Butcher Shop Style Smoked Bratwurst will transport you to a time when hearty flavor and generous portions were the hallmarks of quality craftsmanship. This sausage is made with premium all natural pork and a natural casing that delivers a “snap” that any butcher would be proud of!

Butcher Shop Style Cheddar Cheese & Bacon

Take flavor to the next level with Johnsonville Butcher Shop Style Cheddar Cheese & Bacon Sausage! This big link blends a perfect flavor pairing of creamy cheddar cheese chunks with delicious smoky bacon… mmm!

Butcher Shop Style Andouille

This Butcher Shop Style Andouille Sausage is packed with authentic Cajun taste and only premium all natural pork. Let this BIG link transport you right to the heart of the BIG EASY with its BIG flavor and natural casing “snap!”


According to the package ingredients, there are ingredients like “potassium lactate, corn syrup, dextrose, monosodium, glutamate, sodium phosphate, sodium diacete, maltodextrin and collagen casing.” Until moi wrote this review, she never noticed the ingredients. The reasons the products were purchased by moi in the past were the Johnsonville name, product taste and the fact that Safeway has frequent specials and moi stocks up.

Like many folk, moi has become concerned about processed meat. Atli Arnarson wrote in the Business Insider article, Why processed meat is bad for you:

Processed meat is generally considered unhealthy.

It has been linked with diseases like cancer and heart disease in numerous studies….

There is no doubt that processed meat contains many harmful chemicals that are not naturally present in fresh meat….

What is Processed Meat?

Processed meat is meat that has been preserved by curing, salting, smoking, drying or canning.

Food products categorized as processed meat include:

  • Sausages, hot dogs, salami.
  • Bacon, ham.
  • Salted and cured meat, corned beef.
  • Smoked meat.
  • Dried meat, beef jerky.
  • Canned meat.

On the other hand, meat that has been frozen or undergone mechanical processing like cutting and slicing is still considered unprocessed….

Nevertheless, studies consistently find strong links between processed meat consumption and various chronic diseases.

These include: High blood pressure, heart disease, chronic obstructive pulmonary disease (COPD), and bowel and stomach cancer.

The studies on processed meat consumption in humans are all observational in nature.

They can show that people who eat processed meat are more likely to get these diseases, but they can not prove that the processed meat caused them….                                                                               http://www.businessinsider.com/why-processed-meat-is-bad-for-you-2015-7

When given the opportunity to preview a product which purported to be more natural, moi jumped at the chance.

The Johnsonville Naturals Line has four products:

Original Brats

A delicious brat recipe made with 100% all natural ingredients. Sure to be a favorite at picnics, barbecues or any occasion.

Mild Italian Sausage

Made with all natural ingredients and the perfect blend of Italian herbs and spices for an authentic flavor in any recipe or on the grill.

Original Breakfast Sausage

Our one-of-a-kind original breakfast sausage recipe made with 100% all natural ingredients that will bring family and friends to the table.

Maple Breakfast Sausage

Made with real Vermont maple syrup and other all natural ingredients for a sweet and savory breakfast taste.


According to the label of the Original Bratwurst, the ingredients are “Pork, water and less than 2% of the following: salt, butter flavor (maltodextrin, anhydrous milk fat, mpmfat milk solids, natural flavors, sugar, natural flavors, contains milk.” The Mild Italian Sausage ingredients are “Pork, water and less than 2% of the following: salt, natural sugar, spice, paprika, natural flavors.”

Two products were tested by moi in breakfast, lunch, dinner, and snack recipes. For breakfast, moi used the Original Bratwurst in a scramble. She sliced the bratwurst into thin slices, browned them and added to an egg scramble of mushrooms, red, orange and yellow peppers, with onion. This scramble was topped with shredded cheddar cheese and paired with hash browns. A splash of hot sauce was the final touch. The difference between the original brats and the naturals was the seasoning. The subtle, but noticeable seasoning of the naturals made the scramble more flavorful. For lunch, the brats were used again. Again they were sliced and browned. Moi took some green onions and the brats and added them to a can of loaded potato soup which was microwaved. The soup was paired with a small salad and Ciabatta roll. The dinner test involved moi’s favorite pasta dish. Take spinach or kale and add peppers, mushrooms, onions, and olives along with the browned sliced Italian sausage and mix with either fettucine or linguini topped with shredded cheese. The taste of the Italian sausage was a noticeable, but not an overpowering, seasoned taste which complemented the vegetables. When sliced and broiled, the Italian sausage also makes a good snack. Place a broiled Italian Naturals slice on a French bread round, topped with a quarter sized cheese slice and melt under the broiler. An olive slice makes the perfect garnish and glass of wine the perfect complement. All of the recipes used by moi involve no formal culinary training, used food probably in most fridges, and took no longer than 15 minutes.

The Johnsonville Naturals line is at a higher price point than the original line and the key question for the consumer is whether the higher price is worth switching to the Naturals Sausage. Most consumers will probably decide on whether they will become regular consumers based upon price because the product taste and quality is superior. Moi is guessing most consumers don’t read the product labels. They will either eat processed meat or they won’t eat processed meat based upon concerns other than product label. The reason moi will be making the switch is a simpler ingredient list, a more flavorful product and the price differential is not that great. Since moi is not a dietitian she cannot comment about what the natural claim means. She is like most consumers and when she does read the labels, she noticed the Naturals label was simpler. The product test convinced moi to spend the extra money on the Naturals line because of taste and convenience.

Dr. Wilda gives the Johnsonville Naturals line definite thumbs up.

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©




Dr. Wilda Reviews: AAPD and UW ‘Dental Home Day’

25 May

Moi was very pleased to be invited to Dental Home Day which was held at the University of Washington Center for Pediatric Dentistry in conjunction with Healthy Smiles, Healthy Children (HSHC), and the foundation of the American Academy of Pediatric Dentistry (AAPD). She would like to acknowledge Erika J. Hoeft, AAPD Public Relations, Dr.Beverly Largent, President of the AAPD Foundation, Paul Amundsen, MNA, CFRE of Healthy Smiles, Healthy Children and Steve Steinberg, UW School of Dentistry Director of Communications. They were extremely informative and gracious in answering moi’s questions.

Readers may ask, what is the purpose of Dental Home Day. According to the HSHC site:

Sponsored by Sunstar Americas, Inc., Dental Home Day is our annual service day held in conjunction with the AAPD Annual Session. In partnership with a clinic or dental school in the AAPD host city, AAPD members from across the country volunteer and HSHC provides grants covering the cost of the event and ongoing dental care for participating children. Dental Home Day applications are by invitation only. http://www.healthysmileshealthychildren.org/

Since the AAPD Annual Meeting was in Seattle, they partnered with the UW Dental School. A shout out to San Antonio, the AAPD 69th Annual Session will be held May 26-29, 2016 in San Antonio, Texas. Since referrals to Dental Home Day are limited, children who may qualify should be referred early. http://www.aapd.org/join/benefits/

Readers may ask why children need a pediatric dentist and why is dental care so important for children. According to the AARP:

The statistics are alarming. The rate of tooth decay in primary (baby) teeth of children aged 2 to 5 years increased nearly 17 percent from 1988-1994 to 1999-
2004. Based on the most recent data, 28 percent of children aged 2 to 5 years in the entire U.S. population are affected by tooth decay. 19 By the age of 3, 5 percent
to 10 percent of U.S. children have oral health issues. 19 By age 5, about 60 percent of U.S. children will have had caries at some point, including the 40 percent of children who have it when they enter kindergarten. 4,20

The issue is not just that kids have caries—it’s that, for many kids, caries is not being treated and is turning into more serious problems….http://www.aapd.org/assets/1/7/State_of_Little_Teeth_Final.pdf

See, Frequently Asked Questions http://www.aapd.org/resources/frequently_asked_questions/#37
A pediatric dentist tends to the special needs of children.

One group who may be more comfortable with a pediatric dentist are those with special needs:

The AAPD defines special health care needs as “any physical, developmental, mental, sensory, behavioral, cognitive, or emotional impairment or limiting condition that requires medical management, health care intervention, and/or use of specialized services or programs. The condition may be congenital, developmental, or acquired through disease, trauma, or environmental cause and may impose limitations in performing daily self-maintenance activities or substantial limitations in a major life activity. Health care for individuals with special needs requires specialized knowledge acquired by additional training, as well as increased awareness and attention, adaptation, and accommodative measures beyond what are considered routine…”3

It was emphasized that pediatric dentists want to see children smile because the children are not only healthier, but feel more confident.

The UW Center for Pediatric Dentistry hosted Dental Home Day. Here is the press release:

May 14, 2015

Dental Home Day kicks off year of care for 150 local children
About 150 Seattle-area children will receive a year’s fully subsidized dental care as part of Dental Home Day, an event on May 20 conducted by the University of Washington Center for Pediatric Dentistry and Healthy Smiles, Healthy Children (HSHC), the Foundation of the American Academy of Pediatric Dentistry (AAPD).

Dental Home Day, which takes place in conjunction with AAPD’s annual session, calls attention to the importance of giving every child a “dental home” – a continuing relationship with a dentist that addresses oral health in a comprehensive, continuously accessible, coordinated and family-centered way. The AAPD convenes in Seattle this year from May 21 to May 24.

Dental Home Day, which is sponsored by Sunstar Americas Inc., will take place at The Center for Pediatric Dentistry in Seattle’s Magnuson Park. The Center, a clinical partnership between the University of Washington and Seattle Children’s Hospital, opened in 2010, thanks to a $5 million founding gift from Delta Dental of Washington and the Washington Dental Service Foundation. Its mission is to provide not only a high standard of pediatric dentistry but also to conduct research and identify best practices in children’s oral health.

“We’re delighted to be hosting this event to provide care for dozens of children who have limited access to dental services,” said Dr. Rebecca Slayton, director of the University of Washington Center for Pediatric Dentistry. “Dental Home Day is an extension of our goal of making dental care as accessible as possible for all children, especially those who have the greatest need.”

The participating children – who have already been selected – will receive not only checkups, cleanings and restorative work as time permits on May 20, but follow-up care for a year thereafter. The care will be funded by $30,000 in grants from HSHC. Children received invitations to Dental Home Day through schools, social service agencies, pediatricians and other referral sources. The Center’s dental faculty and dental residents will be joined for the day by about 60 volunteer AAPD member dentists who will consult with the local dentists and guide patients through the clinic.

“This is the third year of our collaboration with Sunstar on Dental Home Day, and the UW Center for Pediatric Dentistry has pulled out all the stops,” said Dr. Beverly Largent, the HSHC president and a pediatric dentist from Paducah, Ky., who will be a Dental Home Day volunteer. “Not only do we anticipate this year’s Dental Home Day to be the largest turnout yet, but our grant to The Center will help support ongoing care for the next year.”
In addition to dental treatment, the young patients will enjoy some entertaining diversions on May 20. Appearances are scheduled by Seattle professional sports mascots including Mariners Moose and the Seahawks’ Blitz, plus Captain Amerigroup and Dr. Health E. Hound of United Healthcare. There will also be games, prizes, story time and a photo booth.

“This will be a lot of fun for the children, but there’s a very serious message behind Dental Home Day,” said Dr. Joel Berg, dean of the UW School of Dentistry and AAPD past president. “One of the most important things we can do with events like this is to spread awareness of the toll that dental disease takes on children. Caries, or tooth decay, is the most common childhood disease, and what’s truly frustrating is that most of it is preventable.”

Dr. Berg added: “We want to let people know that with early treatment, prevention and good dental habits, most children can have a lifetime of great dental health. And establishing a dental home is a key part of that.” http://thecenterforpediatricdentistry.com/dental-home-day-kicks-off-year-of-care-for-150-local-children/

Moi’s observation was the day was well organized and ran smoothly. There are a couple of key observations moi would make about what is a civil and civilized society.
Moi will frame this review with three quotes:

1. “Any society, any nation, is judged on the basis of how it treats its weakest members — the last, the least, the littlest.”
~Cardinal Roger Mahony, In a 1998 letter, Creating a Culture of Life

2. Luke 12:48 For everyone to whom much is given, of him shall much be required; and of him to whom men entrust much, they will require and demand all the more.

3. The Boy and the Starfish
A man was walking along a deserted beach at sunset. As he walked he could see a young boy in the distance, as he drew nearer he noticed that the boy kept bending down, picking something up and throwing it into the water.
Time and again he kept hurling things into the ocean.
As the man approached even closer, he was able to see that the boy was picking up starfish that had been washed up on the beach and, one at a time he was throwing them back into the water.
The man asked the boy what he was doing, the boy replied,”I am throwing these washed up starfish back into the ocean, or else they will die through lack of oxygen. “But”, said the man, “You can’t possibly save them all, there are thousands on this beach, and this must be happening on hundreds of beaches along the coast. You can’t possibly make a difference.”
The boy looked down, frowning for a moment; then bent down to pick up another starfish, smiling as he threw it back into the sea. He replied,
“I made a huge difference to that one!”
~Author Unknown~

150 children were cared for during Dental Home Day. This figure represents a small percentage of the children who need help. The pediatric dentists who give their time and treasure to support the AAPD Foundation came to their profession from many paths and circumstances, but they now represent the privileged in America. They are given the privilege of leadership, of course much is expected. People in helping professions may not be able to help everyone, but they can do their best to make a difference to those whose lives they touch. There are some very hard questions for any society, particularly one with the resources of a country like the U.S., about how the society treats its weakest and smallest members. Dental Home Day is like the little boy and the starfish, not every child is helped, but it makes a huge difference to those who are chosen. See, Healthy Smiles, Healthy Children Partners With 22 Organizations And Commits More Than $1.1 Million in Grants To Underserved Childrenhttp://www.aapd.org/healthy_smiles_healthy_children_partners_with_22_organizations_and_commits_more_than_11_million_in_grants_to_underserved_children/

Dr. Wilda gives a thumbs up to Dental Home Day. A shout out to San Antonio in 2016 to begin getting the word out to poor children in need of dental care.

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©

Dr. Wilda Reviews: Chino Aoshima at Seattle Art Museum

7 May

Moi attended the press review for Chino Aoshima: Rebirth of the World at Seattle Art Museum. (SAM) Here are the details:

Chiho Aoshima: Rebirth of the World
May 2 – Oct 4 2015
Asian Art Museum
Tateuchi Galleries

Ms. Aoshima attended the press preview. Moi’s overall impression is a woman who has been seeking solace from a very early age. Here are some excerpts from the material SAM has posted at its site:

Aoshima’s work has undeniably dark images but a positive attitude. There’s no evidence of fear in her art. Her murals, digital prints, and drawings don’t want to escape from society or from the future. Instead, she seems to embrace all possibilities, including a world where the skeletons and ghosts reside alongside the rest of us.
Her work may look like a surreal fantasy. But ask Aoshima, and she’ll tell you she’s showing us the reality that our beautifully chaotic world may be hurtling toward….

Initially, Aoshima created all of her artwork in Adobe Illustrator. Using hundreds of vectors (points, lines, curves, and shapes or polygons that can be scaled), she controls her images with precision. She repeatedly uses the same data for such background elements as trees, and she also spends extensive time making modifications in order to preserve the organic curves of her depictions of nature—such as vines. Within Illustrator, she creates original images for most of the major individual elements of a painting, such as the figures. She then layers in colors….

Unlike other Kaikai Kiki artists, Chiho Aoshima doesn’t have formal training in art. She graduated from the Department of Economics at Hosei University and then went to work for an advertising firm, where a graphic designer taught her how to use Illustrator… http://www.seattleartmuseum.org/exhibitions/chiho

Artspace has a succinct biography of Aoshima.

At SAM, Aoshima remarked about her childhood and the feeling that she got visiting cemeteries as well as the effect of the Shinto faith on her world view. Her current artistic inclination was a rebirth of thwarted artistic inclination of her childhood. Artspace says:

Influenced by anime and manga cartoons, Chiho Aoshima stands apart from her peers through her exploration of the dark currents lying beneath Japanese pop imagery. She presents nature at odds with man, girls at odds with traditional gender roles, and visions of renewal after the apocalypse. She says of her practice: “My work feels like strands of my thoughts that have flown around the universe before coming back to materialize.”

Not formally trained in art, Aoshima graduated from the Department of Economics at Hosei University before going to work for the artist Takashi Murakami, who eventually made her a member of his Kaikai Kiki collective…. http://www.artspace.com/chiho_aoshima

See, Timeline for Aoshima http://www.artnet.com/artists/chiho-aoshima/biography

Moi’s impression is that Aoshima is one of the most technically brilliant pop artists working in the contemporary world. Her technique is crisp, precise and engaging. But, and there is a but that most folk either will not notice or care about if they did notice. The but is the overwhelming sadness of her work, which most will attribute to a bleak future promised by technology. Moi listened to her description of her childhood and the fact that cemeteries offered some solace to a lonely child, who has in moi’s opinion, grown into a woman who has never shaken that childhood sadness.

SAM’s exhibit is divided into three sections:

1. An overview of Aoshima’s work over the past 15 years
2. Digital prints
3. Animated Video

The video has so many levels, one must see it a couple of times to really get clues about nuance and the many different levels of expression. Dr. Wilda recommends Chino Aoshima: Rebirth of the World because of its technical brilliance and the singular world view of Aoshima, which one does not have subscribe to in order to appreciate her authentic, for her, expression.


Silenci? – Chino Aoshima – YouTube

A clip from the new animation by Chiho Aoshima, made in collaboration with Bruce Ferguson of Darkroom. The piece will premiere as part of “Chiho Aoshima: Rebirth of the World,” which opens on Saturday May 2 at the Seattle Museum of Art’s Asian Art Museum.

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©

Dr. Wilda Reviews: Seattle Art Museum’s Indigenous Beauty

18 Feb

Moi recently attended the press preview of Seattle Art Museum’s (SAM) exhibit Indigenous Beauty. Here are the exhibit details:

Indigenous Beauty
Feb 12 – May 17 2015
Seattle Art Museum
Simonyi Special Exhibition Galleries

SAM describes the exhibit with the headline, “Experience the First Art of North America.” The Native Peoples of North America belong to many cultural groups and lived in the United States, Canada and Mexico. Indigenous Peoples is an attempt to give a flavor of the many cultures by organizing the art according to geographic region. The Native Peoples used the materials and resources that each region provided.

The America Federation of Arts, SAM and other supporters helped bring a sample of the Diker Collection to Seattle, Fort Worth, Atlanta and Toledo. The Diker Collection has been displayed at both the Smithsonian and Metropolitan Museums. Deborah Donovan wrote in a 2009 review of First American Art: The Charles and Valerie Diker Collection of American Indian Art:

The Dikers also have an extensive collection of modern and contemporary art in their home, and it was there that the curators of this exhibit, Native and non-Native scholars alike, came together to discuss the meanings of Native art.

Inspired by the unique juxtapositioning before them of historical Indian art with modern art-an Acoma olla placed on a table beneath two huge Jean Dubuffets and a colorful Calder mobile, for instance-the curators organized their discussion around seven aesthetic principles common to both: idea, emotion, intimacy, movement, integrity, vocabulary, and composition…. https://www.forewordreviews.com/reviews/first-american-art/

Given the breadth of the Native experience in North America, this carefully curated exhibit provides examples of the very best of Native artistry and craft. The artists and that is what they were, whether the genesis of their work arose from an expression of their spirit or just a need to create, demonstrate exceptional workmanship. Keep in mind; the artists used the materials they had available. Each piece in the exhibit tells a story about an aspect of the Native experience. Some of the stories may have been lost in the attempt to force assimilation on some of the cultures, but contemporary Native tribal members are attempting to recover the stories.

Indigenous People is simply stunning and a great education experience for all ages. It is worth traveling to one of the venues to breathe in the exceptional artistic and spiritual experience. Dr. Wilda gives Indigenous People a thumbs up.

Educational Resources:


Click to access Bib_DikerCollection.pdf

Indigenous Beauty Educator Resource List

Click to access Indigenous%20Beauty%20Educator%20Resource%20List.pdf

Explore the regions
Western Arctic / eastern subarctic / northwest coast / great basin & california / southwest / plateau & plains / woodlands & southeast

Here is the SAM press release:

Indigenous Beauty
Feb 12 – May 17 2015
Seattle Art Museum
Simonyi Special Exhibition Galleries
Get Tickets
This spring, Seattle has the opportunity to see some of the most stunning works of American Indian art ever made.
Marvel at nearly 2,000 years of amazing skill and invention. Linger over drawings, sculptures, baskets, beaded regalia, and masks.
The immense variety of Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection reflects the diversity of Native cultures. This superb exhibition offers more than great works of art and cultural artifacts—it is an invitation to explore other worlds.
Deeply engaged with cultural traditions and the land, indigenous artists over the centuries have used art to represent and preserve their ways of life. Even during the 19th and 20th centuries, when drastic changes were brought by colonization, artists brilliantly adapted their talents and used the new materials available to them to marvelous effect.
The works in Indigenous Beauty will inspire wonder, curiosity, and delight. Come experience the vast beauty of indigenous art from all across North America.
The guest curator for this exhibition is David Penney. Local curator is Barbara Brotherton, Curator of Native American Art at the Seattle Art Museum.
Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection is organized by the American Federation of Arts. This exhibition was made possible by the generosity of an anonymous donor, the JFM Foundation, and Mrs. Donald M. Cox.

Where information leads to Hope. © Dr. Wilda.com

Dr. Wilda says this about that ©

Blogs by Dr. Wilda:


Dr. Wilda Reviews ©

Dr. Wilda ©

For exclusive content: THE OLD BLACK FART
Subscribe at http://beta.tidbitts.com/dr-wilda-the-old-black-fart/the-old-black-fart