Muse/News: SAM gets “radiantly weird,” street stickers, and active landscapes

SAM News

“The show feels like it’s tilted toward some uncanny vision of classical art. In doing so it serves as fine reminder of how much our memories and connotations of periods can get distilled down to a few images.” –Stefan Milne, Seattle Met

“For all their intense realism, the works also show some seriously freaky scenes, both mythological and biblical.” —Brangien Davis, Crosscut

“. . . the unwieldy greens of El Greco, the soft, cloudlike skin of a Titian figure, and all around badassery of Artemisia Gentileschi.” —Jasmyne Keimig, The Stranger

“A stroke of paint seems to connect the viewer across time to the artist, dead now for hundreds of years.” —Sierra Stella, UW’s The Daily

The Seattle press corps seems adequately disturbed/enchanted by SAM’s major fall show, Flesh and Blood: Masterpieces from the Capodimonte Museum, which opened last week. Come see the “radiantly weird” show for yourself.

Local News

The Stranger’s Jasmyne Keimig adds another beat to her watch: stickers. This time, she finds the Dalí-inspired, the public-transportation-celebrating, and more.

The 2019 Washington State Book Award winners were announced last Saturday, including Joy McCullough for “Blood Water Paint,” her YA novel in verse about Artemisia Gentileschi.

Crosscut’s Agueda Pacheco Flores visits Where Beauty Lies at the Wing Luke, which questions, explores, and celebrates ideas of Asian American beauty.

“Visitors are encouraged to be reflective, and not just by looking in mirrors. People can write down an insecurity on a triangular strip of paper and throw it into a faux fire pit that has a dim orange light at the center. The papers don’t burn, but together resemble flames.”

Inter/National News

The New York Times’ Jillian Steinhauer reviews the modest Betye Saar show at the new MoMA—“dismayingly, the first show the institution has ever devoted to Ms. Saar.”

Artnet’s Javier Pes on Pre-Raphaelite Sisters, London’s National Portrait Gallery’s revisionist show that puts the sisterhood of the British art movement in the foreground.

Cultured Magazine talks with Teresita Fernández, whose mid-career survey—co-curated by SAM’s own Amada Cruz!—opens at the Pérez Art Museum Miami today.

“Her idea of landscape is, in fact, ‘not passive at all. It’s very deliberate and strategized. Even our ideas about what places are—place names, borders and what’s visible—they’re such powerful tools to control how we think of ourselves in relation to land and to place.’”

And Finally

Remembering Elijah Cummings through his most powerful speeches.

– Rachel Eggers, SAM Associate Director of Public Relations

Installation view of Flesh and Blood: Italian Masterpieces from the Capodimonte Museum at the Seattle Art Museum, 2019, photo: Natali Wiseman.

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Object of the Week: Aphrodite Torso

Ancient Greek art is often associated with beautiful marble statuary depicting heroic subjects, and beautiful male and female bodies. However, until the Hellenistic period of Greek history, the female nude was not portrayed in large sculptural works, passed over instead for heroic male nudes. This all changed when Praxiteles, one of the most renowned Attic sculptors of the 4th century BCE, designed the first life-sized female nude statue. Purchased by the Temple of Aphrodite at Knidos, his revolutionary nude portrayal of the goddess Aphrodite became famous, and was a well-known tourist attraction in its day. As was the tradition, the Aphrodite statue would have been brightly and realistically painted. According to historians, this produced a statue so lifelike that men would fall in love with her instantly. Praxiteles’ creation led to a new era of Greek sculptural work that now included the life-sized female nude in the artistic repertoire, inspiring thousands of copies and derivations.

Designed during the 2nd century BCE, this statuette in SAM’s collection depicts the nude torso of Aphrodite, carved by an unknown artist. While this statuette is not life-sized, the pervasive popularity of Praxiteles’ work (lasting well into the Roman Empire) would have influenced both the subject and style of this statuette. Although her legs and arms are missing—most likely broken in antiquity—it appears from the curve of her shoulders that Aphrodite would have been adjusting her hair. While she was often depicted emerging from the sea, this statuette might have portrayed the goddess wringing seawater out of her hair. Discovered in Egypt, this statuette was a byproduct of the constant trade between Hellenistic Greece and their colonized counterparts throughout the Mediterranean. Although Egypt was a Greek state by the 2nd century BCE, the Ptolemaic rulers continued to favor Egyptian art and iconography over Greek works. The presence of this statue in Egypt could mean that it belonged to a Greek government official living in Egypt at the time.

Hayley Makinster, SAM Curatorial Intern

Image: Aphrodite Torso (after Praxiteles), 2nd century B.C., Egyptian, marble, 13 1/16 x 5 1/4 x 4 3/8 in., Norman and Amelia Davis Classical Collection, 61.74
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Art Zodiac: The Balanced Ballerina of Libra

For Libra season I’ve chosen to discuss Lynette Yiadom-Boakye. A British artist whose work focuses on people of color, Yiadom-Boakye’s painting, Trapsprung is currently on view on SAM’s third floor. The subject of the painting is a ballerina with her back to you one leg effortlessly lifted into the air in a battement to the side. More than a painting of grace, Yiadom-Boakye is calling attention to the lack of women of color in ballet, in depictions of ballerinas, and to the racism that accompanies a dark-skinned woman in that métier. Listen to choreographer, Donald Byrd on Trapsprung to hear more about the painting.

Yiadom-Boakye was born in 1977. And guess what? Pluto was in Libra from 1971 to 1983 (excluding a part of 1972 when it retrograded into Virgo for a hot minute)! As I mentioned in last month’s article, in evolutionary astrology, Pluto represents the structure of our soul. It is our actions and thoughts, strengths and weaknesses, all accumulated from our previous incarnations. Because Yiadom-Boakye’s soul is represented by Libra, her paintings can be seen as realizing the need to seek justice for the underrepresented and undervalued black body. Yiadom-Boakye wants to bring balance through social justice. This is what the ultimate Libra archetype strives towards. 

Libra is the 7th sign of the zodiac, and the sun transits the Libra constellation from September 23 to October 22. Libras like to get everyone’s input before they make a decision because they are the sign of “we” as opposed to Aries, the sign of “me.” Libras want fairness most of all. They ask all involved their opinions and needs, and then think through the impact on the group. Once things are balanced in their minds, they make a decision that best fits everyone. Libras use their verbal dexterity and charm to cajole others into agreement so a calm resolution is achieved. If you aren’t being treated fairly, then Libra is the friend to call because they will use their diplomacy and tact to help you out. Libra wants equality so that peace can reign. 

Yiadom-Boakye’s soul-need isn’t to prove herself or be seen for her own power, rather she strives to support equity and social justice through her work.

– Amy Domres, SAM’s Director of Admissions 
Amy is also a Psychospiritual Evolutionary Astrologer and Healer at Emerald City Astrology

Image: Trapsprung, 2013, Lynette Yiadom-Boakye, oil on canvas78 3/4 × 70 7/8 in., General Acquisition Fund, 2014.11 © Lynette Yiadom-Boakye. Courtesy of the artist, Jack Shainman Gallery, New York and Corvi-Mora, London
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Muse/News: SAM opens up, the Burke goes “inside out,” and art history’s blind spots

SAM News

Recently, SAM announced that the Asian Art Museum will reopen to the public on February 8, 2020. Curbed Seattle and NW Asian Weekly both wrote about the building project, which “gives the historic building both a home of its own and a stronger connection to the park around it.”

Local News

Last week, city council candidates appeared at Town Hall to talk arts policy. The Stranger’s Rich Smith—and candidate Alex Pedersen’s “art tie”—were there.

Dinosaurs, but make it fashion: Seattle Met presents their fall fashion editorial set amongst the new digs (get it?) of the Burke Museum.

And the Seattle Times has wrap-around coverage on the new Burke, including a story from Brendan Kiley, photos, video, and graphics to get you ready to explore.

“This Burke, director Julie K. Stein says, isn’t just a new museum. It’s a new breed of museum, imagined and designed with the incantation ‘inside-out.’”

Inter/National News

Fred Armisen is an art aficionado. No, really! Hyperallergic explores his segments on Late Night with Seth Meyers in which he shares his knowledge of literally “every painting that has ever been painted.”

Here’s the New York Times’ Roberta Smith on the new Roy DeCarava retrospective at David Zwirner; his photographs, she says, “constantly flip between visual fact and a metaphor for difference of all kinds.”

In Artforum’s October issue, Emmelyn Butterfield-Rosen reflects on the recent exhibitions Posing Modernity and Black Models, together “one of the most consequential events to take place in the field of nineteenth-century art in Euro-America in recent decades.”

“Murrell achieved something more profound, and more challenging, than archival ‘discovery.’ Her exhibition placed the past blindnesses of art history on very public view, making devastatingly clear the remedial nature of the lesson in seeing required by this discipline—a lesson that could be encapsulated in a question as elementary as: Tell me, class, how many figures are in this picture?”

And Finally

I keep thinking about this squirrel.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: © Tim Griffith
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Object of the Week: Kylix

A kylix is a type of ancient Greek drinking vessel, designed to hold wine for members of a symposium, or an after-dinner drinking party. Seated on cushion-covered couches along the walls of the host’s dining room, these party-goers would recline on their left elbow while drinking with their right hand. Because of their recumbent positions, kylikes were the perfect vessel to drink from. Relatively shallow, and with a handle on either side of the cup, men, and sometimes their consorts could drink without spilling while reclining with ease.

The outside of this particular kylix is decorated with a symposium scene, depicting various red figures. Each man holds a skyphos – another type of wine-drinking vessel – while dancing with an upraised hand. The inside, or tondo, of the kylix introduces yet another scene, and would have been revealed as the attendee finished his wine. The scene depicts two youths reclining on a couch while flinging the contents of a kylix with their right hand. While this may appear like a rowdy moment brought on by an excess of wine, the two men are instead playing kottabos. A fairly challenging drinking game, kottabos was a common feature of the after-dinner festivities, and the kylix was the equipment of choice. Partiers would loop their right index finger through the handle, aim, and fling the dregs of their wine at the target, which was usually a bowl balanced on a stand or floating in water. Playing required agility and good aim, and missing could result in dosing your fellow guests with wine! Perhaps the reward of cakes or sweetmeats made the mess worthwhile.

Hayley Makinster, SAM Curatorial Intern

Images: Red-figure Kylix (cup) with Symposion Scene, active ca. BC 700 – 480
Painter of the Paris Gigantomachia, ceramic, 5 1/8 x 16 1/8 in., Gift of the Norman and Amelia Davis Classical Collection, 59.30
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Twice as Nice: SAM Staff Artists Tie FTW

Every year Seattle Art Museum’s Community Gallery is dedicated to artwork by its staff and the eclectic outcome is a thing of true beauty—as colorful and strange as all the art lovers and artists that work here. This year, in a true testament to the volume of excellent work that was on view July 31 to September 1, not one but two talented SAM staff members were voted as faves by their peers. Ashley Mead, Assistant Registrar-Rights and Reproductions, and Natali Wiseman, Design Studio Manager, tied for our hearts this time around. Learn more about these two artists their obsessions with color, and their love for SAM’s Australian Aboriginal collection in this interview!

SAM: How does this work fit into your larger artmaking practice? Have you always worked in this medium?

Ashley Mead: It doesn’t? Or rather, because I’m inconsistent in my practice it totally fits with my larger artmaking practice. I just couldn’t tell you how. I’ve worked with paper for a few years and in collage for one year, and only because I agreed to do a portrait before I remembered that I can’t draw. Other than that, I dabble in just about every medium I can get my hands on—hence the inconsistency.

Natali Wiseman: I have always painted, but this is the first painting I’ve made in a few years. Previously I did a lot of really detailed illustrative painting, which completely broke me, so I took a long break. I wanted to try something a lot looser with less clean edges. Playing with dimensional paint was fun and new. For the last several years I have mostly been doing screen printing and collage, so it was nice to get back into painting.

What inspired the piece in the art show? Is there a story behind the work or is it part of a series?

Mead: It’s based on a photo of me, Ted, and Michael Besozzi taken at the Smith Tower on my birthday two years ago. We looked so good I wanted to know what we’d look like in paper—we’re definitely more colorful and less serious in this work than in the photo.

Wiseman: I have a 1960s craft book from my mom that has detailed instructions on making “chemical gardens”, also known as ammonia gardens (or sometimes you can buy them in kits, called “magic gardens”). The gardens are these melty piles of color, which I felt compelled to paint with overgrown fungal-looking flowers. There is something interesting to me about creating synthetic gardens.

What artists or artworks are inspirations to you in general?

Mead: Oh goodness. I’m a fan of color, that’s probably the biggest thing that draws me to a piece or artist. Specifics though, Van Gogh has always been a favorite. Mickalene Thomas is a more recent love. Oh, and I love our Australian Aboriginal collection. That’s just a short hodgepodge list.

Wiseman: This is hard! Color is a big deal for me. I love Sister Corita Kent’s work. I really like the Light and Space movement and color field painting. I also love Judy Chicago, Lynda Benglis, Richard Tuttle, Kenneth Noland, Jack Whitten, Gehard Richter, Wayne Thiebaud, Helen Frankenthaler, David Hockney . . . I suppose there could be a theme there. I love surrealism, particularly Rene Magritte, Man Ray, and Leonora Carrington. At SAM, I find the work in the Aboriginal Australian gallery to be very inspiring and meditative.

What other art projects are you working on right now or looking forward to?

Mead: All of them! I have about a half dozen commissions and half-million ideas, so good luck to me on figuring out what to focus on next.

Wiseman: More gardens, and I have some collages in the works. Hoping to do more large-scale screen printing, too. And I really want to get into ceramics! 

– Chelsea Werner-Jatzke, SAM Content Strategist & Social Media Manager

Photos: Lawrence Cenotto
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Muse/News: Reimagined museums, reflective art, and the many rhythms of Cuba

SAM News

Last week, SAM announced that the Asian Art Museum will reopen to the public on February 8 and 9 with two free 12-hour days of programming, reflecting the 12 themes of the dramatically reimagined collection. The Seattle Times broke the news.

Natalie Ball: Twinkle, Twinkle Little Snake is reviewed by Bean Gilsdorf in Art in America. It’s also the cover story in this week’s edition of Real Change, with a feature review by Lisa Edge inside.

“Ball’s creations are freighted with symbolic messages, composed in a language that conjures both ancestral tradition and contemporary identity.”

“While audiences may not understand all the references she’s included, she wants them to connect with it emotionally. ‘I want them to feel it,’ Ball said. ‘I want it to pull or tug.’”

Building bridges! Centering joy! Priya Frank, SAM’s Associate Director for Community Programs, is one of Puget Sound Business Journal’s annual “40 Under 40” leaders.

Local News

Last week, we shared coverage of an internal battle at Intiman Theatre. This week, the organization has agreed on a plan for its future.

Seattle Met’s Stefan Milne has some thoughts on the five gallery shows to see this month.

The Stranger’s Jasmyne Keimig gets reflective in Carrie Yamaoka’s recto/verso at the Henry Art Gallery.

“It’s representation in the purest of senses, in that you can literally see yourself in her work—not an abstracted label of your body, say, or your identity, but your body and your identity.”

Inter/National News

The new MoMA opens on October 21, and press have had their sneak peek. Here’s thoughts from the New York Times and Vulture; CBS Sunday Morning will visit this week.

Can he collect it? Yes he can! Artsy chats with Q-Tip about his art collection, now on view at Bonham’s in New York.

It’s one of those beautiful New York Times interactives, this time taking us on a road trip across the many rhythms of Cuba.

“Cuban music is often described as a tree, with various primary roots that supply life for many branches. But separating the island’s music into distinct genres is an inherently flawed task — they intertwine and cross.”

And Finally

A swan song (or 10) from Jessye Norman.

– Rachel Eggers, SAM Associate Director of Public Relations

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Object of the Week: Tsuba

A tsuba is a hand guard of a Japanese sword, mounted between the handgrip and the blade, to protect the user’s hand. Either carved or molded, they also help balance the sword, which is comprised of a number of complicated—but equally important—components.

While highly practical in its purpose, there is, as with all things, room for ornamentation and embellishment. This 19th-century example in SAM’s collection, made of copper alloy with gold and silver inlay, depicts an elegant nighttime landscape. Under the arc of the crescent moon, the spray of gold plants and flowers appear to be basking in the moonlight, also gold.

Prior to the 17th century, the functionality of a tsuba was more important than its decoration. From the 17th century onward, tsuba became more elaborate, with carving and molding techniques more sophisticated. Designs on tsuba—such as this one—often draw their subject matter from Japanese folklore and nature, and importantly signal the status of the sword’s owner.

Currently, on view in SAM’s third-floor galleries, this tsuba is part of the exhibition Gentleman Warrior: Art of the Samurai, which explores lesser-known aspects of samurai culture, including patronage of the arts. From the tea ceremony to Noh theater, the samurai class helped advance various artistic practices in the service of showcasing both their military might and cultural prowess.

Elisabeth Smith, SAM Collection and Provenance Associate

Image: Tsuba: Plants in Landscape and Moon in Inlay, 19th century, Japanese, copper alloy with gold and silver inlay, 2 5/8 x 2 1/2 x 3/16 in., Eugene Fuller Memorial Collection, 34.95. Photo: Elizabeth Mann
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SAM Connects Free Days to Flesh & Blood

Experience the fierce beauty of High Renaissance and Baroque art at the free Community Opening for Flesh and Blood: Italian Masterpieces from the Capodimonte Museum on October 17. From 5–9 pm, watch these artworks come alive as Palace Theatre & Art Bar takes the stage for a series of eclectic performances reflecting the darkness, drama, and human emotion of Flesh and Blood. Make a masterpiece of your own as you draw from live models during an art activity led by artist Barry Johnson. Seattle Opera singer will be in the galleries expressing love, devotion, and tragic suffering with pop-up performances. Living representations of the artworks will be embodied by dancers Mikhail Calliste and Michele Dooley. Flesh and Blood presents, as they say in Italy, il meglio del meglio—the best of the best.

Make sure to RSVP, but if you can’t make it to the opening, don’t worry! There are many other ways for you to visit SAM for free or at a discount during Flesh and Blood!

  • Free community passes may be available for community organizations or colleges and universities.
  • Many of our programs include free admission to our special exhibitions on the day of the event. Keep an eye on exhibition-related events.
  • First Thursdays mean discounts to Flesh and Blood!
    Adult: $9.99
    Seniors 65+, Military (w/ID): $7.99
    Students (w/ID): $4.99
    Ages 19 & younger: Free
  • First Friday: Admission to Flesh and Blood is $7.99 for anyone 65 years and older.
  • As part of Museums for All, SAM offers free admission to low-income families and individuals receiving SNAP benefits when you show your EBT card.
  • King County and Seattle Public Libraries offer free passes to special exhibitions.
  • City of Seattle’s Gold and FLASH card program. If you have a Gold or FLASH card, your caretaker gets free admission.
  • Teen Tix pass program makes it possible for teens to visit for just $5!
  • Bank of America’s Museums on Us: On the first full weekend of every month, Bank of America cardholders receive free admission at SAM.
  • Blue Star Museums: free admission to military personnel and their families. Just show your military ID. The military ID holder plus up to five immediate family members (spouse or child of ID holder) are allowed in for free per visit (special exhibition surcharge may apply).
  • UW Art Students get free admission with the sticker on their student ID

SAM is for everyone and we’re here to make sure anyone can see the art they love! Don’t forget, entry to SAM’s permanent collections is always suggested admission! You can experience our global collection year-round and pay what you want.

Images: The Ecstasy of Saint Cecilia, 1645, Bernardo Cavallino, Italian, 1616–1656, oil on canvas, 24 × 18 7/8 in., Museo e Real Bosco di Capodimonte. The Virgin of the Souls with Saints Clare and Francis, 1622–23, Battistello Caracciolo, Italian, 1578–1635, oil on canvas, 114 3/16 × 80 11/16 in., Museo e Real Bosco di Capodimonte.
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