In this delicate drawing Henry Bannarn depicts 21-year-old artist Gwendolyn Knight Lawrence using soft graphite markings and subtle blending and shading. The sketch, folded and preserved by the sitter throughout her life, was gifted to the museum in 2006 as part of her estate. Bannarn’s drawing remained in Knight’s collection until the end of her life, and was stored among many of her own drawings and sketches. Knight moved to Harlem at the age of 13, and attended Howard University and took classes at the Harlem Community Art Center and the Black Mountain College before settling in Seattle with her husband, painter Jacob Lawrence.
Although Bannarn created drawings and paintings throughout his career and taught drawing at the Wheatley House, Minneapolis, his best-known works are his sculptures. Born in Oklahoma and trained at the Minneapolis School of Fine Arts, Bannarn moved to New York City to study sculpture at the Beaux Arts Institute of Design. Bannarn’s sculptures were praised by Howard University art history professor James Porter and included in Porter’s 1943 publication Modern Negro Art. Porter praises Bannarn’s sculptures as daringly original.
While living in New York, Bannarn rented a studio with fellow artist Charles Alston in Harlem at 306 West 14st street. By 1940 Bannarn and Alston had turned their studio into an exhibition and artists’ space which they named the 306 Group. The 306 Group became a hub of African American artistic production in the late 1930s and early 1940s. The group focused on admitting members who “reflect[ed] and represent[ed] the African American community’s standards for Black American art.”1 Prominent members of the group included Norman Lewis, Romare Bearden, and Jacob Lawrence.
Bannarn met his subject Gwendolyn Knight when he was teaching at the Harlem Community Art Center, where Knight came to study sculpture with Augusta Savage in 1934. Savage was assigned as Project Supervisor for the Federal Art Project under the Works Project Administration (WPA) and taught a broad group of influential African American artists during that time. Many members of the 306 Group worked for the WPA in the 1930s including Bannarn, Knight, and Lawrence. Having grown up in a poor family in Florida as one of fourteen children, Savage went on to study in France, exhibit at the Salon d’Autumne, and Carnegie Foundation grant to travel through Europe. Savage’s longest lasting impact was in her role as director of the Harlem Community Art Center, where she shaped the careers of a whole generation of African American artists.
SAM is lucky to have these two portraits of Gwendolyn Knight Lawrence by Bannarn and Savage as they illustrate not only the artist at the height of her youth, but also give a sampling of the broad artistic talent that came out of Harlem Community Art Center and the important role of the WPA as a support system for American artists in the 1930s. The discovery of Bannarn’s drawing illustrates the hidden depths of the rich collection at SAM.
– Genevieve Hulley, SAM Curatorial Intern, American Art
1 Buick, Kirsten Pai. “Between a Rock and a Hard Place: Sculpture of the Harlem Renaissance.” In A Companion to the Harlem Renaissance. Ed. Cherene Sherrard-Johnson, 317–336. Hoboken, NJ: Wiley-Blackwell, 2015, 327.
In Lynette Yiadom-Boakye’s Trapsprung, a dancer reaches to the tip of their outstretched leg while balancing perfectly on the toes of their other leg. In Interview Magazine, the artist describes being drawn to “the very kind of visceral physical power and grace of dancers, and their occasional closeness to losing control.”
A split second before or after the moment in this painting, and the dancer’s balance will shift into another movement. Here, though, the dancer’s strength and poise are captured in an instant, while Yiadom-Boakye’s brushwork evokes the energy of the movement. Painted from memory and imagination, Yiadom-Boakye features portraits of Black people exclusively, creating images that explore “the wider possibility of anything and everything.” In the current socio-political climate, David Rue, Public Engagement Associate at SAM, initiated a project that celebrates and elevates incredible Black artists living and working in the city of Seattle through connecting them with this work by a prominent Black artist in SAM’s collection. Local artists Amanda Morgan, Michele Dooley, and Nia-Amina Minor, responded to Trapsprung in brief, personal dance works, and offered reflections on the artwork and their lived experiences.
It’s easy to assume that each and every work made by Black artists living right now will only be about police brutality, slavery, or protest. Plot twist! While these are important conversations to be had, it’s also critical to remember that we’re a very dynamic group of people capable of exploring a multitude of artistic experiences.
What I believe is on the other side of this socio-political monstrosity is the beauty, power, and grace that exists within Black artists. These are qualities that I see within Lynette Yiadom-Boakye’s work as well as within the dancers commissioned to respond to Trapsprung. Now is the time to celebrate and elevate their artistic excellence.
On my first visit to the Seattle Art Museum I immediately took notice of Trapsprung. A Black ballerina dancing in a piece of art is not a common subject that you find in much of the art that is created, so I instantly saw myself in the work, being a Black ballerina myself. The aspect about the piece that I probably enjoy the most though is the perspective and action taking place within it. We are placed behind her and given her perspective as she moves; she moves with intent and direction as opposed to being static and placed in the space only to be seen. I think this demonstrates what women, and particularly Black women are capable of. We are not there to just be viewed or seen, we are a statement in just our being and use this as our power to go forth in all we do rather than let this inhibit us. I like to think the woman in that portrait would take on the world as such.
Amanda Morgan is originally from Tacoma, WA and is currently a corps member at Pacific Northwest Ballet. She joined the company in 2016 as an apprentice and was promoted to corps in 2017. In addition to dancing, Morgan is a choreographer and founder of her own project titled “The Seattle Project”, which aims to collaborate with multiple artists in Seattle and create new work that is accessible to the community. She has choreographed for PNB’s Next Step at McCaw Hall (2018, 2019), Seattle International Dance Festival (2019), and curated her own show at Northwest Film Forum this past February of 2020. She is currently continuing to still create and connect with artists during this time, and has a dance film coming out in collaboration with Nia-Amina Minor for Seattle Dance Collective this July.
Power and dynamic combined with softness and beauty.
Remembering all it is and what it feels like to be a Black woman.
Always acknowledging how much strength and resilience it requires to become the Black dancer in this artwork and the Black artist that painted it.
Michele Dooley is a native of Philadelphia and began her dance training at The Institute of the Arts under the direction of Cheryl Gaines Jenkins. She graduated from the High School for Creative and Performing Arts under the direction of LaDeva Davis and earned a BFA in dance at The University of the Arts, under the direction of Donna Faye Burchfield. While earning her degree, she spent three seasons with Eleone Dance Theatre. Michele trained at Bates Summer Intensive, BalletX summer program, and DCNS Summer Dance Intensive, worked with choreographers such as Gary Jeter, Tommie Waheed-Evans, Dara Meredith, Milton Myers, Nora Gibson, and Ronen Koresh, among others.
I see her and she’s flying.
Purposefully turned away from a world that is often drawn to her image partly because she makes it look so easy. But I see the effort, the commitment, and I can stand to learn something from the subtlety. I remember reading that a bird’s wings have evolved to provide lift and reduce drag. They use their strongest muscles to lift while their wing anatomy minimizes turbulence, friction, and all that would drag them down to the ground.
I see her and she’s flying.
Nia-Amina Minor is a movement based artist and dance educator from South Central Los Angeles. She holds a MFA from the University of California, Irvine and a BA from Stanford University. Nia-Amina is a co-founder of Los Angeles based collective, No)one Art House, as well as a Company Dancer and Community Engagement Artist Liaison with Spectrum Dance Theater.
Next in our series of virtual tours from Suzanne Ragen, aka Nana, we’ll be looking at an ancient Hindu sculpture and a Chinese sculpture from the 14th century. A SAM docent since 1965, Ragen began writing what she calls Nana’s Art History 101 for her grandchildren when the Asian Art Museum had to close for the safety of the public in March 2020. She recently started to share these virtual tours of SAM’s original home with us and we hope you enjoy them!
Ganesh, Remover of Obstacles and Lord of Auspicious Beginnings
Do you remember our first object, the Indian Story Scroll Cloth that featured the Hindu god Ganesh? He starts the story on that scroll because he is the God of Auspicious Beginnings, which means the story gets off to a good start.
This stone sculpture of Ganesh was located in a niche of a Hindu temple wall. In Hinduism, there are three main gods: Brahma has four heads and is the creator of pretty much everything; Vishnu often wears a top hat and is blue and comes to earth to help when needed in the form of nine different avatars; and Shiva who is the destroyer and can end the world and then you start all over again.
This Ganesh is connected to Shiva, we know that because the snake across his round belly is Shiva’s snake. When you look at Ganesh, what’s the first thing you notice? For me, his most striking feature is his elephant head. He also has four arms, a big belly, wears jewelry, and a crown. You might notice his candy dish in his left hand (he loves candy). What do you see near his right foot? That’s Mooshika, his rat sidekick who helps Ganesh trample down or wiggle through obstacles.
Why do you think he has an elephant head? The reason starts with Shiva and his wife Parvati, who live in a big, fancy house. Shiva is gone a lot, destroying things and Parvati misses him. One day when Shiva is gone Parvati makes a child out of clay to keep her company and breathes life into him. Once she goes to take a bath and tells her child, “Don’t let anyone in the house!” But Shiva comes home unexpectedly. Ganesh stops him and says “You can’t come in!” This makes Shiva so angry that he takes his sword and cuts off Ganesh’s head.
Parvati comes out and says, “How terrible! You have cut off the head of our child!” Shiva realizes the situation and tells his servant to go to the market and bring back the first head he sees. It is an elephant. Shiva places the elephant head on his child’s body. Ganesh comes back to life and in Hindu mythology, stays as a helper to his father and a good son to his mother.
Many Hindus pray to Ganesh for good luck when they set a new goal. After hearing this story, what do you think is lucky about Ganesh?
Dragon Tamer Luohan
This Chinese wood sculpture from the 14th century came to the Seattle Art Museum soon after it opened its doors in 1933. How do I know this information? I looked at the label! If you look at the last numbers on any label (no matter what museum you go to), you’ll see there are a series of numbers. The numbers before the first period tell you what year the museum acquired the work, after the period is the number in which the object came into the collection that year. This is called the accession number. The accession number for this object is 36.13. This means that the object was acquired in 1936 and it was the 13th object acquired that year.
For the past 84 years this object was titled Monk at the Moment of Enlightenment. While the museum was closed for a recent renovation and expansion, our Chinese curator was able to examine it very carefully, using medical equipment like x-rays and CT scans, as well as looking closely. We can do that, too.
What we discovered from the scans is that the figure is hollow, made up of five different pieces of wood, held together with long iron pins, and was painted in reds and greens with a topcoat of gold, most of which has worn off. The curator was able to remove a panel in his back and found a single Chinese character inscribed inside that the museum had never seen before! It is part of the name for the Dragon Tamer Luohan. Luohans are Buddhist monks and this one’s particular job was to control the Dragon King. The Chinese believed that rainfall was controlled from the clouds by the Dragon King, so farmers would pray to this Luohan for the right amount of rain for their crops. Because of his size (more than three feet) and quality, it is thought that he was originally in a temple in Beijing.
The other big surprise that was found inside him was a mud wasp nest in his head! It must have been there for 800 years. A fragment of a wasp was sent to a UW entomologist, who was able to determine its species.
He is sitting on a tree stump, his body is twisted, legs with one foot touching the ground and the other crossed over that knee. He is grasping his robe in one hand and probably held a pail or a pearl in his other hand. He is looking upward at the sky, communicating with the Dragon King for more or less rain to fall. He seems totally animated with his swirling robes and vigorous body language. Notice his elongated pierced ear lobes, a symbol of the Buddha, who began life so wealthy that he wore heavy gold earring which stretched his ears.
Many years ago I was leading a high school group on a tour and we were talking about enlightenment and what it is? (This was when he had his first title). I suggested that it might be what happens when you are puzzling over a math problem and the symbols and numbers are just making no sense. You keep looking at them and suddenly they fall into place. Eureka! Enlightenment! When I said that, I snapped my fingers, and at that moment there was a minor Seattle earthquake. The guards came and rushed us into a doorway. I did feel a certain odd sense of power.
– Suzanne Regan, SAM Docent
Image: Dragon Tamer Luohan, ca. 14th century, Chinese, wood with polychrome decoration, 41 x 30 x 22 in., Eugene Fuller Memorial Collection, 36.13. Ganesh, Remover of Obstacles and Lord of Auspicious Beginnings, ca. late 10th to early 11th century, Indian , Odisha, possibly Bhubanesvara, sandstone, 18 1/4 x 9 1/2 x 5 1/2 in., Eugene Fuller Memorial Collection, 39.33.
We’ve curated a list of grade-level books with free online read-alouds on the topics of race, racism, and resistance for you to spend some time with over the summer. Many of these books will be available at Seattle Art Museum’s Ann P. Wyckoff Education Resource Center (ERC) when the museum can reopen. Others are available through the Seattle Public Library or the King County Library System. This book list caters to grades Pre-K through 8 but can spark conversation between people of all ages.
PRE-SCHOOL – GRADE
Skin Again, by hooks, bell. (Pre-K – K) New York: Jump at the Sun, 2004.
This award-winning book introduces a strong message of loving yourself and others and offers new ways to talk about race and identity. Watch the read aloud above, find the e-book at the Seattle Public Library, or find this book at the ERC.
The Colors of Us, by Katz, Karen. (Pre-K – K) New York: Henry Holt & Co, 1999.
Seven-year-old Lena and her mother observe the variations in the color of their friends’ skin, viewed in terms of foods and things found in nature. Find this book at the ERC!
The Skin You Live In, by Tyler, Michael and Csicsko, David Lee. (Pre-K +) Chicago: Chicago Children’s Museum, 2005.
Rhyming text and illustrations celebrate being happy with the skin in which one lives, whatever that skin might be. ERC available and the e-book is at SPL & King County Library System.
All are Welcome, by Penfield, Alexandra. ( Pre-K – Grade 3) New York: Knopf Books for Young Readers, 2018.
Follow a group of children through a day in their school, where everyone is welcomed with open arms, where students grow and learn from each other’s traditions. You can find the e-book at Seattle and King County Library System.
I Am Enough, by Byers, Grace. (PK – Grade 3) New York: Balzer + Bray, 2018.
A story of loving who you are, respecting others and being kind to one another. The ERC has this book and Seattle Public Library has the e-book.
Let’s Talk About Race, by Lester, Julius and Barbour, Karen. (Pre-K – Grade 3) New York: HarperCollins, 2005.
This children’s book introduces the concept of race as only one component in an individual’s or nation’s “story.” Find this book at the ERC.
Something Happened in Our Town, by Celano, Marianne. (Grades K – 3) Washington, DC: Magination Press, 2018.
This story follows two families—one White, one Black—as they discuss a police shooting of a Black man in their community. The story aims to answer children’s questions about such traumatic events, and to help children identify and counter racial injustice in their own lives. Check out the e-book through SPL.
Enough! 20 Protesters That Changed America, by Easton, Emily. (Grades K – 3) New York: Crown Books for Young Readers, 2018.
America has been molded and shaped by those who have taken a stand and said they have had enough. In this dynamic picture book, stand alongside the nation’s most iconic civil and human rights leaders, whose brave actions rewrote history. The e-book can be found at the Seattle Public Library & King County Library System.
GRADES 3 – 8
Not My Idea: A book about Whiteness, by Higginbotham, Anastasia. (Grades 3 +) New York: Dottir Press, 2018.
A children’s picture book that invites white children and parents to become curious about racism, accept that it’s real, and cultivate justice. For a limited time, you can download a free pdf version from the publisher’s website.
We Rise, We Resist, We Raise Our Voices, edited by Hudson, Wade and Hudson, Cheryl Willis. (Grades 3 – 7) New York: Crown Books for Young Readers, 2018.
What do we tell our children when the world seems bleak and prejudice and racism run rampant? With 96 lavishly designed pages of original art and prose, 50 diverse creators lend voice to young activists. E-book is at Seattle Public Library and a digital audiobook is available through King County Library System.
Little Dreamers: Bold Women in Black History, by Harrison, Vashti. (Grades 3 – 6) New York: Little, Brown and Company, 2017.
Based on her popular Instagram posts, debut author/illustrator Vashti Harrison shares the stories of 40 bold African American women who shaped history.
Find the e-book available through Seattle Public Library & King County Library System or find the book at the ERC when SAM reopens.
Little Legends: Exceptional Men in Black History, by Harrison, Vashti. (Grades 3 – 6) New York: Little, Brown and Company, 2019.
Vashti’s follow-up to Little Leaders documents the lives and accomplishments of Black men throughout history, spanning centuries and continents. This e-book is available through the Seattle Public Library & King County Library Systems.
Rise Up! The Art of Protest, by Rippon, Jo. (Grades 3 – 7) New York: Charlesbridge, 2020.
Celebrate the right to resist! Human rights belong to every single one of us, but they are often under threat. Developed in collaboration with Amnesty International, Rise Up! encourages young people to engage in peaceful protest and stand up for freedom. Get the e-book on the Seattle Public Library website.
A Good Kind of Trouble, by Ramée, Lisa Moore. (Grades 4 – 8) New York, NY: Balzer + Bray, 2019.
After attending a powerful protest, Shayla starts wearing an armband to school to support the Black Lives Matter movement, but when the school gives her an ultimatum, she is forced to choose between her education and her identity. E-book & digital audiobook available at Seattle Public Library & King County Library System.
Ghost Boys, by Rhodes, Jewell Parker. (Grades 5+) New York: Little, Brown and Company, 2018.
After seventh-grader Jerome is shot by a white police officer, he observes the aftermath of his death and meets the ghosts of other fallen Black boys including historical figure Emmett Till. E-book & digital audiobook available through Seattle Public Library & King County Library Systems.
Raise your Voice: 12 Protests That Shaped America, by Kluger, Jeffrey. (Grades 5 – 8) New York: Philomel, 2020.
Starting with the Boston Tea Party, moving to the Women’s March, and ending with the Standing Rock/Dakota Pipeline Uprising, this book covers 12 protests that shaped our nation. The e-book is available through the Seattle Public Library.
– Kim Christensen, Education Resource Center Education Assistant
This art activity is part of SAM’s Look & Make Activities designed as grade-specific lesson plans for remote learning. Find more information and artworks to inspire creative learning through these activities available for download on our website in English, Spanish, and Chinese.
A Branch of the Cold Season includes both calligraphy and an image of a plum tree painted in ink. For hundreds of years, artists have practiced calligraphy, a type of decorative handwriting made with a brush or pen. Calligraphy can be a work of art on its own or it can go along with painted images. Even if someone cannot read what is written, they can enjoy calligraphy by thinking about its movement or style. The lines of calligraphy above the branches in this artwork were written by a monk, a member of a religious community. The monk’s name was Zhen. The painted plum tree was later added by the artist Yang Hui. Yang Hui gave this artwork as a gift to his friend, who was preparing to travel to a city far away. The Chinese characters, or written symbols, read: “When the plum blossoms begin to bloom. Imagine some of these nights you will be thinking of each other in the bright moonlight.” The image of a moon represents friendship and this work of art connected these two friends wherever they went. How do you stay connected to your family and friends who are far away?
What is going on in this painting? What do you see that makes you say that?
In this artwork, one artist wrote the words and one artist painted the image. Why do you think they were put together? How would it be different if it was just words or just the image?
This is a painting of a plum blossom, which often blooms in February and March. In Chinese art, plum blossoms can be related to winter or the coming of spring. What season is it right now where you are? What plants, flowers, or other parts of nature do you see often? Which plants have meaning to you and your family?
Go for a walk outside! As you are walking, look closely and notice the nature around you. What trees, flowers, plants, and animals do you see? As you observe them, notice how they move. Do they sway in the wind? Do they jump around? Move closer to what you see (at a safe and respectful distance, if it is an animal). What new details do you notice when you are close up to the plants and animals? Can you move like the branches of a tree?
ART ACTIVITY: Make Nature-Inspired Artwork & Poetry with A Friend!
What You’ll Need
Choose one of the plants or animals that you saw on your walk, or often see this season. Ask your family member or friend to do the same.
On a blank piece of paper, make a drawing of your plant or animal. You can look out your window or find a picture to draw from. You could also close your eyes, remember what it looks like, and draw from your imagination. Think about how it moves. Can you draw your plant or animal in motion?
When you are finished, share your drawing with your partner. Then, switch drawings with them.
Look at your partner’s drawing and, on a separate piece of paper, create an acrostic poem with the name of the season you are in. To write an acrostic poem, you write one word up and down, then start with those letters for the beginning of the poem’s lines. Here’s an example using the “spring” as the first word:
Sun is peeking out Park bench Rabbits and singing birds I see it all Now I move to the Grass
When you are happy with your poem, draw it into your partner’s drawing. You can put the lines wherever you want, they don’t all need to be together. Notice the style of your partner’s drawing. Is it cartoonish? Is it long and looping? Is it sharp and detailed? Try to write letters to go along with your partner’s drawing, as if the words are little drawings themselves.
Show your artwork and read your poems out loud to each other when you are done.
KEEP LEARNING WITH A STORY
Learn about the seasons through haikus paired with clear scientific explanations in an animated read aloud of Our Seasons by Grace Lin using a free trial or join three friends as they go hiking in part one and part two of a video read aloud of The Hike by Allison Farrell.
Images: A Branch of the Cold Season, ca. 1440, Ming Dynasty (1368-1644), Yang Hui with Monk Zhen of Huan’an Temple, ink on paper, 30 5/16 x 56 1/16 in. (77 x 142.4cm), Eugene Fuller Memorial Collection, 51.132. Photo: Paul Macapia
When the Asian Art Museum had to close due to health and safety concerns around COVID-19, Suzanne Ragen, a SAM docent since 1965, began writing what she calls Nana’s Art History 101 for her grandchildren. When Suzanne first started volunteering, Dr. Fuller was SAM’s Director and the Volunteer Park location was our only museum. She describes the reopening of the Asian Art Museum earlier this year after it’s renovation and expansion, as feeling like coming home. We are all thankful that Nana is sharing these virtual tours of SAM’s original home with us!
Story scroll of sage Bhavana
Imagine that the year is around 1850 and you live in a small Indian village where most of the people are weavers. It’s been a long hot day of work but a treat is in store for all of you this evening. A storyteller is coming with his very long cloth scroll and he is going to tell and sing to you the story of Bhavana, the celestial weaver who wove cloth for the gods. He lights a lamp and starts to unfurl the long cloth that is wound on his bamboo poles. That’s how this object was displayed before it came to the Seattle Art Museum.
At SAM you can only see the beginning and end of the 30 yards of the story. Look at the first section and you will see the Hindu god Ganesh with his human body and elephant head. Even though most people in the original audience could not read, they would recognize Ganesh by his unique characteristics. Ganesh is the god of beginnings, so this is a good place to start our story. We’ll read the scroll from the top to the bottom.
Above Ganesh are the three main Hindu Gods—Vishnu, Shiva, and Brahma. The story goes that the sage, or wise man, Bhavana was victorious in a great war thanks to his army of tigers. As the victor, he can marry the daughter of the sun. Many gods attend their wedding, some arriving in flying chariots. Where do you see the chariots? Keep looking down past the chariots, towards the bottom of the scroll. Bhavana is making colored dyes from his enemies’ bodies.
You’re part of the audience and if the storyteller did a good job, you would pay him some hard-earned rupees! You might also appreciate the donor who commissioned the scrolls for your village. Look at the patch at the end of the story and you can see the name of the person who paid for the scroll.
What are some stories that you know? Who first told you these stories and how do you show them that you appreciate their storytelling?
We are now jumping from 19th-century India to 2001 for a look at Some/One, a sculpture by contemporary Korean artist Do Ho Suh. You might not be able to tell from the image, but this is a large sculpture, taking up almost the entire gallery. It’s located in the new expansion of the Asian Art Museum, along with art from all over Asia mostly done by currently living artists.
By looking at this picture, can you tell what the sculpture is made of? There are a ton of small, silver rectangles. These are stainless steel military dog tags that soldiers wear around their necks to identify themselves. The artist commissioned a veteran, or someone who served in the military, to manufacture hundreds of these dog tags, but with made-up names. Do Ho Suh sculpted the dog tags into a kimono-like garment that would have to be worn by someone over eight-feet tall! A steel structure holds it together, covered with a glass fiber reinforced resin and rubber and copper sheets.
Do Ho Suh made this as a student when he was given an assignment to create a piece of clothing that could serve as his identity. Suh had moved to the US for school from South Korea, where every male citizen must serve at least two years in the military.
Why do you think Suh titled this work Some/One? One reason might be that each dog tag represents an individual soldier, but as a whole they make one—the military. When you see this work in person, you’ll notice that the tags are so shiny that you can see yourself reflected in the kimono. How do you think it might feel to see yourself in this art?
If you were asked to make a piece of clothing that reflected your identity, what would you create?
Later in our virtual tours we will look at a Japanese terra cotta soldier called a Haniwa from around 500 AD who is also wearing armor.
Imagine that you live in the city of Edo (now Tokyo, Japan) around 1800. Unlike today’s Tokyo that’s filled with tall, steel skyscrapers, 200 years ago, the houses were made of wood, bamboo and paper; the floors are covered with tatami mats made of straw. These materials would be very flammable! Now, pretend you are a fireman, a highly esteemed profession. The only way to control a fire in your city is to destroy the buildings around the one that is on fire to stop the spread. When the alarm comes, you reach for a coat like this one.
The fireman’s coat is made of very thick cotton, dyed with indigo. You would soak the coat in water before going to the fire, which might make it weigh 75 pounds, but would help protect you. The outside is solid navy blue and bears your fire brigade ID. The design of the rabbits is on the inside of the coat, closest to your body—that means when you see this at the museum, the coat is displayed inside out.
Why would rabbits be on a fireman’s coat? There is a traditional Japanese story that the Man in the Moon came to earth disguised as an old starving traveler. He met three animal friends on the road. Monkey was agile and could climb trees to bring the old man fruit. Fox was clever and could swim and bring him fish. Rabbit could only gather grass, so he asked the old beggar to light a fire. He jumped into that fire to offer his body as a meal. The old man was so touched by Rabbit’s sacrifice that he pulled him from the fire and invited Rabbit to live with him on the moon. He is still there. Do you agree that Rabbit is an appropriate emblem of protection from fire for firemen?
Can you tell what the rabbits are doing on the coat? They are pounding rice to make mochi in the enormous pot, with steam clouds floating above them and a few plant fronds at their feet. Have you ever eaten mochi? Mochi is rice pounded into a paste, often with added water, sugar, cornstarch, and coloring, then molded into shapes. It is traditionally made in a ceremony called mochitsuki. Mochi is especially popular around the New Year as a symbol of good fortune.
Now when you see the Man in the Moon, you might think of this story and enjoy a delicious treat.
The Seattle Art Museum believes that Black lives matter and stands in support of Black families, friends, colleagues, and communities across the country as they grieve and seek justice for the murders of George Floyd, Breonna Taylor, Ahmaud Arbery, and all victims of police brutality. We mourn the lives lost and, as we say their names, we recognize that we cannot be silent.
Systemic and institutional racism pervades every corner of American life, including cultural institutions such as the Seattle Art Museum. SAM recognizes the inequities faced by Black Americans, and we acknowledge the work that SAM must do and the impact of our work on our community. Since the 2000s, SAM’s Education & Community Engagement Committee has helped guide SAM’s programming and community partnerships. We will continue to listen to this inspiring group of advocates as we make changes to better lead by example within our arts community and city to create a country where Black people and other people of color are not oppressed.
In 2017, the museum’s Equity Team and leadership integrated an equity statement of the museum’s official values into SAM’s strategic plan, which guides all we do. It reads:
We are responsive to cultural communities and experiences, and we think critically about the role art plays in empowering social justice and structural change to promote equity in our society. We are dedicated to racial equity in all that we do.
We know that we can do more. We must begin by looking at ourselves and working to uncover the structural biases within our own organization.
Art is a crucial way of sharing unique perspectives, reminding us of the past, and envisioning future possibilities. Throughout history, art has been used for education, revolution, politics, propaganda, emotions, subversion, and sharing transformative experiences. SAM believes that art always contains a message and cannot be neutral. We rely on our collection, exhibitions, and the artists we work with to reflect our institutional values and we can, and will, take tangible actions to enact necessary change in our society.
We are committed to:
Striving for racial equity in our exhibitions, educational programs, hiring practices, and all activities at the museum
Sharing work by Black artists in our collection and in our communications. For the next week, we will not be promoting the museum on social media, in order to amplify the views of organizations, artists, activists, and individual Black voices
Continuing to increase the acquisition and exhibition of more works by artists of color
Featuring artwork by Black artists in the following exhibitions and installations in the next year:
There are many ways to show support and solidarity at this moment. As a part of the Seattle art community, SAM would like to encourage you to support local Black-led arts organizations through donations and engagement. This list is by no means comprehensive and we encourage you to add to it in the comments.
Since 1985, Seattle Public Schools has held the Naramore Art Show to share the works of its arts students and to celebrate their achievements with their community. Floyd A. Naramore, whose name is honored by this exhibition, was a visionary architect who invested deeply in his community and in the education of students. He designed over 22 schools, including Roosevelt, Garfield and Cleveland high schools, and several middle school buildings.
Seattle Art Museum has been a partner in this program for many years now, providing support and promotion of the exhibition. Around this time of year, artists and their family and friends would gather at SAM for the highly anticipated celebration and awards ceremony, normally filled with live music, refreshments, and performances. This time-honored tradition was dedicated to celebrating the creativity and excellence of each participating artist. The museum’s lobby would be abuzz with joyous chatter as students’ excitedly perused the halls looking for their art, and beaming as they saw their work—a piece of themselves hanging on the walls.
But with growing concerns of the COVID-19 global pandemic and social distancing guidelines, our small team of SPS administrators and SAM educators feared this would be the first time in over 30 years the exhibition might not be shown, at least in person. As stay home orders began, extended, and schools were forced to cancel the remainder of the school year in person, it became clear that our fears had come true. As we came to terms with this fact, we also reminded ourselves that Naramore is the culmination of a school year of hard work by art students and teachers. We were committed to creating space, where none had existed before, to honor the time, energy, and voices of young artists. Thanks to hard work from administrators across SPS, we were able to turn that desire into a reality. Naramore continues on as a virtual museum on the SPS website and includes over 200 works of art by students from across the district. The show will be on view through June 30, 2020 and can be accessed online here! Additionally, students are invited to continue sharing artwork they’ve been creating at home during quarantine on Instagram under #artistsofsps.
You are also invited to join us for the virtual celebration on Thursday, June 4th at 5:30 P.M. The celebration will include a viewing of the artwork, keynote by Superintendent Denise Juneau, student video diaries, and more! No registration required, just tune in on YouTube, stream on the Seattle School District webpage, or tune in to any local TV channels:
Comcast 26 (standard-def) 319 (hi-def)
Wave 26 (standard-def) 695 (hi-def)
Century Link 8008 (standard-def) 8508 (hi-def)
At this time more than ever, we need to center the creativity and insight of our young people and amplify their voices for the world to hear. From the devastation of COVID-19 to relentless police violence against black and brown people, our community is in crisis. Art has the power to express our fears and our joy; document our history; shape our dreams, and so much more.
We are forever grateful to these young people who have given us the gift of their perspective and ask that our community take the time to reflect on their wisdom and leadership, so that we can all do our parts in dismantling injustice.
Molly Cain, Baby Gun
Ever since I was a kid I’ve been kinda obsessed with the dichotomy between the innocence of children and the harsh violence of guns. Things like nerf guns and videogames were fun as a kid but what are they saying about gun violence? That is what inspired my piece. I wanted to highlight the soft innocence of the toddler hand vs. the violence of the hand motion.
Remi Adejumobi, Overcoming
I was inspired by the idea that Martin Luther King symbolizes peace. Our society needs lass hate and violence and more peaceful thoughts and actions. The colors flower draws attention to hope, to the possibility that we can make our country a more beautiful place to live in if we support each other more and find ways to overcome our negative feelings.
Camellia Maxson, Pear
I created this piece because I wanted to show emotion in another way besides the face. I liked the idea of someone who is so angry squeezing a pear until it bruises and leaks juice. I chose markers because it is a medium I enjoy working with due to the markers quick drying nature and flat colors yet easy to blend when needed. The main challenge was drawing the hand squeezing the pear.
Ella Maurer, The Beginning
I created this piece to capture the emotions felt during the beginning of my relationship, while connecting with others who have felt similar emotions, past or present. I want to spread comfort thought knowing that others have felt caution, growing, trust, love, and more.
The young girl gazes directly into the camera: serene, open, determined. Her arms cross in front of her; her hands reach for those of the other children beside her. Together, they form a chain that cannot be broken.
She is 11-year-old Quintella Harrell, as the photo’s caption notes, and she’s participating in the campaign for voting rights for Black people in Selma, Alabama, that took place in the early months of 1965. The photo was taken by Dan Budnik, who uses documentary photography as a tool for activism and to bear witness to the battle for equality. A few weeks before this photo was taken, a 26-year-old church deacon from Marion named Jimmie Lee Jackson was shot by a state trooper as he tried to shield his mother from the trooper’s nightstick, dying eight days later. Days after this photo was taken, the historic march from Selma to Montgomery, led by civil rights leaders such as Martin Luther King, Jr. and John Lewis, would begin. The images of state troopers attacking the activists during what came to be called “Bloody Sunday” galvanized public opinion, eventually leading to the march’s safe completion on March 21—and to the passing of the Voting Rights Act.
This moment of a young girl’s perseverance is captured forever in this black-and-white photo, but it’s far from the distant past. Today, Dr. Quintella Harrell is 65 years old. How much has changed?
SAM expresses deep compassion for those seeking justice for George Floyd, Breonna Taylor, and Ahmaud Arbery. We share in the grief, anger, and frustration that their friends, families, and Black communities are feeling, which has spread across the country and the world. SAM is committed to doing our part in the necessary work of creating racial equity. Art can play a critical role in creating structural change and equity; it deepens empathy, asks tough questions, and offers new visions for collective responses to our world. We must create that new world together.