All posts in “Art Around Us”

Muse/News: Remote art, O’Keeffe’s recipes, and staying safe

SAM News

Following a series of progressive steps taken in recent weeks, SAM announced last Thursday that it has temporarily closed through the end of March, to help limit the spread of COVID-19 and protect the community.

While the museum is closed, we hope you’ll enjoy Gayle Clemans’ lovely review of John Akomfrah: Future History, which notes that even with the closure, “the artist and his work, nonetheless, is well worth knowing about.”

“For Akomfrah, that cinematic approach is like philosophy, a way of comprehending the world. ‘As opposites have conversations, or as they are persuaded to at least potentially sit at the table in preparation for conversation, something miraculous happens,’ he says. ‘Life itself happens.’”

Also for the Seattle Times, Gayle Clemans rounded up visual arts recommendations in honor of Women’s History Month, including SAM’s “one-room powerhouse of a show,” Georgia O’Keeffe: Abstract Variations.

Local News

The Seattle Times has extensive coronavirus coverage, including local museum news, thoughts on the immediate impact to arts organizations, and daily live updates.

Crosscut shares ways to support the creative economy, Culturyst has a special “Seattle arts at home” edition, and Red Tricycle also has ideas for remote experiences, including browsing SAM’s collection online.

The Stranger’s Rich Smith suggests that you join Everyone in the World who will be tuning in to rebroadcasts and livestreams of Seattle Symphony performances.

“The push to do these performances is all stemming from the musicians,” Shafii said. “They’re motivated to do whatever they can to provide music for the community.”

Inter/National News

Globally, Artnet is tracking closures and other art world news. They’re also reporting that institutions in China and South Korea are carefully reopening.

The New York Times’ live (and free) coronavirus updates are essential.

Since we can’t be looking at Georgia O’Keeffe’s paintings, might we suggest cooking from Georgia O’Keeffe’s recipes? Thanks to The New Yorker’s Rachel Syme for the perfect housebound idea.

“Miss O’Keeffe often wondered aloud, ‘Do you think other people eat as well as we do?’”

And Finally

“Working from home is awesome.”

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Alfred Stieglitz, American, 1864–1946, Georgia O’Keeffe (in a chemise), 1918, gelatin silver print, 9 1/2 x 7 1/2 in., Georgia O’Keeffe Museum, Santa Fe, New Mexico, Gift of the Georgia O’Keeffe Foundation, 2006.6.1432, photo: Georgia O’Keeffe Museum, Santa Fe / Art Resource, NY
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Muse/News: Akomfrah lights up, Native artists lead, and a catchy tune

SAM News

“More collage than straightforward narrative, more meditation than explanation.” Crosscut’s weekly “things to do” always has great suggestions; right now they’re recommending SAM’s two new shows, the immersive video works in John Akomfrah: Future History and the small-but-mighty Georgia O’Keeffe: Abstract Variations.

As part of their ongoing series on arts and culture, Canvas, the PBS NewsHour takes us to the Peabody Essex Museum to see their exhibition of Jacob Lawrence’s Struggle series, which heads to SAM next year.

Artnet’s Eileen Kinsella wrote about the art world’s increased attention on contemporary Native and First Nation artists; she spoke with SAM curator Barbara Brotherton about what it means.

“It’s obviously a really exciting thing,” said Barbara Brotherton, a curator of Native American art at the Seattle Art Museum, of the recent exposure. The museum has a long track record of showing Native American art ranging from historical to contemporary periods. “We’re just in this modern moment where it’s gaining cachet from venues like art fairs, contemporary galleries, and biennials.”

Local News

Seattle Magazine announced this week that it is under new ownership, having been acquired by startup entrepreneur and Geekwire chairman Jonathan Sposato.

Per Crosscut’s Margo Vansynghel: “The 114-year old Georgetown Steam Plant . . . will become a state-of-the-art education, science and arts center, to open in three to five years.”

Gavin Borchert for the Seattle Times on the “pathbreaking” Black composer Florence Price, and the tale of how her Violin Concerto No. 2 came to be performed by the Seattle Symphony.

“An errant tornado, or even a carelessly tossed cigarette butt, in the wrong place and the Seattle Symphony would be playing a very different program.”

Inter/National News

Here’s a good overview of how national cultural institutions are responding to the coronavirus, from Julia Jacobs and others at the New York Times.

Ariella Azoulay for Hyperallergic on the “Free Renty” case, in which Tamara Lanier, a descendant of Renty Taylor, is suing Harvard University for restitution of a daguerreotype of Taylor.

“Why Watch Video in a Museum?” asks Jason Farago of the New York Times; his answer is in his review of filmmaker Steve McQueen’s new exhibition at the Tate Modern.

“Video art, once dumbly condemned by traditionalists as a mass-media takeover of the fine art gallery, now offers more of an escape from the hellscape of our digital feeds than other artistic media.”

And Finally

Catchy.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Film still from Tropikos, 2016, John Akomfrah, single channel colour video, 5.1 sound, 36 minutes, 41 seconds, (AKOM160001), © Smoking Dogs Films; Courtesy Smoking Dogs Films and Lisson Gallery.

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Muse/News: Chiyo’s goodbye, the art of hom bows, and Earth’s mini moon

SAM News

Last week, we announced that Chiyo Ishikawa, SAM’s Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture, will retire this summer after 30 years with the museum. The Seattle Times, KUOW, Artforum, Artnet, ARTnews, Artdaily, and Hyperallergic all shared the news. In Crosscut’s Arts & Culture newsletter, Brangien Davis spoke for everyone when she wrote, “Beloved in the Seattle arts community for her insight, approachability and très chic personal style, Ishikawa will be missed.”

“A Place for Meaningful Cultural Conversations” declared the headline for art critic Lee Lawrence’s thoughtful review of the reimagined Asian Art Museum, which appeared in the February 25 print edition of the Wall Street Journal.

“These 19th-century bululs, or rice deities, from the Philippines once watched over terraced paddies, and they’re among the museum’s most modest yet most powerful works. Given the nature and small size of its Philippine holdings, the Seattle Asian Art Museum probably would have kept them in storage had it opted for a traditional installation. But in another benefit of thematic groupings, they—and other long-warehoused treasures in the museum’s collection—now have a role, enriching the new installation not just with their stories but with their spirit.”

Local News

Seattle-based artist Susie J. Lee is making a short video about what makes a museum “interesting and cool.” The Seattle Times’ Alan Berner captured photos of the recent shoot at the Asian Art Museum.

Crosscut’s new video series, Art Seen, explores “the hidden art of the everyday”; they recently showed us how Mee Sum Pastry makes all those hom bows, day in and day out.

The Seattle Times’ Crystal Paul reviews the new collection of stories by Zora Neale Hurston, Hitting a Straight Lick with a Crooked Stick.

“As a trained anthropologist, Hurston traveled down the East Coast and sat on stoops and corners, the storytelling stages and communal gathering spaces of Black communities, where, with academic rigor and a loving gaze, she listened, studied and collected the stories Black folk tell.”

Inter/National News

Tara Bahrampour for the Washington Post on the Phillips Collection’s Creative Aging program, which helps seniors connect and make art.

Holland Cotter of the New York Times on MoMA’s Donald Judd survey that opens on Sunday, noting that his work “can now be seen to offer pleasures, visual and conceptual, that any audience with open eyes, can relate to.”

Hyperallergic’s Kealey Boyd reviews the exhibition of Chinese contemporary art, The Allure of Matter: Material Art from China; its national tour has now brought it to the Smart Museum of Art and Wrightwood 659 in Chicago, before it heads to SAM this summer.

“It is not often a new category of art historical research is proposed as a solution to these persistent problems, but The Allure of Matter: Material Art from China makes a compelling case for the usefulness of a new analytical structure around Chinese art.” 

And Finally

Earth can have a mini moon (as a treat).

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Scott Areman
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Muse/News: Virginia’s legacy, Yardbird goes opera, and the Museum Walk

SAM News

Virginia “Jinny” Wright, a pillar of the SAM family, passed away last week at the age of 91. The Seattle Times obituary of the collector and philanthropist noted that she “lived for art—and dedicated herself to sharing it with others.” KUOW and ARTnews also shared remembrances of her legacy. She will be greatly missed.

KEXP’s Hans Anderson interviewed SAM curators Foong Ping and Xiaojin Wu about the reimagined Seattle Asian Art Museum for their Sound & Vision show; head to their archive for Saturday, February 15 for the story, which started at 7:49 am.

More coverage for the Asian Art Museum appeared in GRAY Magazine, Post Alley, and 425 Magazine.

Local News

You have until this Saturday to check out the Jacob Lawrence works on view at Greg Kucera. The Seattle Times’ Brendan Kiley wrote about the artist’s “big, beautiful panels for real-life superheroes.”

The Stranger’s Jasmyne Keimig keeps an eye out for what’s “Currently Hanging”; right now, it’s Agnieszka Polska’s Love Bite at the Frye Art Museum.

Tom Keogh for Crosscut on Seattle Opera’s “promising, dynamic production” of Charlie Parker’s Yardbird, which explores the life of the jazz legend.

“So the piece, like Parker’s music, is full of extremes, pushing the voice’s boundaries,” [tenor Joshua] Stewart says. “When you have a piece this difficult, you have to bring to it everything you have to offer. You have to go on the full journey.”

Inter/National News

OK, this is definitely a thing: Museum Walk gives you back pain. Hyperallergic has tips to alleviate it from posture expert Mark Josefsberg.

Payal Uttam for Artsy on the most recent edition of the India Art Fair (IAF) in New Delhi, and what it said about the market for South Asian art.

Artnet’s Taylor Defoe reports on the Oakland Museum of California’s recent pivot to measuring their success by their “social impact,” rather than by usual metrics.

“This is coming at a time when museums and other cultural institutions are really trying to make a case for their existence,” says the OMCA’s associate director of evaluation and visitor insight, Johanna Jones, who led the project. “We know we make a difference in people’s lives, now we need to really demonstrate it through measurable metrics.”

And Finally

More movies for your list, post-Parasite.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Virginia Wright in her Pioneer Square gallery, Current Editions, August 1967. Photo: © Mary Randlett. All rights reserved.
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Muse/News: We heart Asian art, keepers of the dream, and Parasite’s art

SAM News

The Seattle Asian Art Museum is officially reopen! Thank you to the thousands of people who streamed through the reimagined galleries at the free housewarming event last weekend. The museum starts regular hours on Wednesday, February 12.

“I felt freed, well, just to look”: Stefan Milne examines Boundless at the Asian Art Museum and The American War at ARTS at King Street Station, which both “explore how we see Asia.”

Seattle Refined shot a recent episode from the museum, including a fantastic segment with SAM curators Foong Ping and Xiaojin Wu (starts at :40).

And ParentMap’s JiaYing Grygiel has this charming look at the museum through the eyes of kids and families.

Local News

I Google this every Oscars season. Here’s a breakdown from the Seattle Times on those harder-to-understand categories.

The Stranger’s Charles Mudede on the work of Marisa Williamson, who has two shows on view in Seattle at SOIL Gallery and Jacob Lawrence Gallery.

Crosscut’s Margo Vansynghel on the new local documentary, Keepers of the Dream: Seattle Women Black Panthers, which premiered last Friday at Northwest Film Forum and will screen again on February 20.

“Women were critical to the survival of the organization,” [Robyn] Spencer says. “They were the movers, the shakers, the theorists, the thinkers, the organizers — they were keeping the party going.”

Inter/National News

Artist Beverly Pepper died this week at 97. Two of her works grace the Olympic Sculpture Park. Here’s Artnet’s obituary for the legendary sculptor.

Here’s Artnet on director Bong Joon-ho’s use of suseok, or “scholar’s rocks” in his Oscar-winning film Parasite.

The New York Times’ Roberta Smith on the late, Seattle-born painter Noah Davis, whose work is again on view in a “big, beautiful exhibition” at David Zwirner.

“Your eyes and mind enter them easily and roam through the different layers of brushwork and narrative suggestion. There’s an unexpected optimism to all this. The paintings also dwell in silence, slow us down and hypnotize.”

And Finally

Did you know that the Asian Art Museum will screen this film on February 26? Well, we will!

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jueqian Fang
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Muse/News: The Asian Art Museum prepares, art preachers & martyrs, & #DollyPartonChallenge

SAM News

Check out this week’s edition of the International Examiner, with a special section on the Asian Art Museum that reopens on February 8. It includes articles on Be/longing, the building itself, the Gardner Center, the Future Ancient, a know-you-before-you-go for the opening weekend events, and a special thank-you from SAM. Articles on Boundless and the conservation center should hit online tomorrow—see everything in print now.

Farewell, Flesh and Blood. T.s. Flock of Vanguard had one last round-up of “grim highlights” from the exhibition that closed on Sunday. Up next downtown: John Akomfrah: Future History.  

Local News

Seattle Times’ Megan Burbank heads to Twisp to explore the artsy, the sustainable, and the inventive of its communities.

“Preacher of the arts”: Crosscut’s Margo Vansynghel interviews Raymond Tymas-Jones, president of Cornish College of the Arts, who has a bold plan for the institution’s future.

Margo also recently visited with the local performers who came together to form the Art Martyrs Relief Society.

“The concept of their endeavor . . . is simple: Put together one show a year with a kickass lineup, pay the performers royally, preach the gospel that working artists deserve a fair wage, have a damn good time and repeat.”

Inter/National News

Jacob Lawrence: The American Struggle is now on view at the Peabody Essex Museum. Reviews landed from the Washington Post’s Sebastian Smee and the Boston Globe’s Murray Whyte. The exhibition travels to SAM next year.

Barack and Michelle are going on tour! Hyperallergic’s Hakim Bishara reports on the five-city tour of their official portraits by Kehinde Wiley and Amy Sherald, which kicks off in June 2021.

Bethan Ryder for the Guardian on projects around the world integrating museums and interactive learning experiences.

“After a long pause a nine-year-old said: ‘Objects have rights.’ The phrase has stuck. It captures both the need to conserve objects and to consider them as active participants in the museum experience.”

And Finally

Museums take the #DollyPartonChallenge. (SAM’s was the best).

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jueqian Fang
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Exceptional & Ordinary / Tsutakawa & Mingei

The Japanese art gallery at SAM’s downtown location was recently reinstalled with a focus on the Mingei movement in Exceptionally Ordinary: Mingei 1920–2020, on view through Novemeber 8, 2020. Initiated in the 1920s by the Japanese collector and connoisseur Yanagi Soetsu (1889–1961), Mingei elevated functional, everyday crafts to art objects. Since its foundation, Mingei’s broad applications range from mid-century decorative arts to contemporary designs, ceramics, textiles, sculptures, and prints, examples of which are hanging in our gallery. Prominently featured, are works by the late Seattle-based artist George Tsutakawa on loan from the George Tsutakwa Art Legacy. The Tsutakawa family share below about George’s inspiration and how his furniture fits in the installation at SAM!

George Tsutakawa began to build bronze fountain sculptures in 1961 with the installation of his first fountain at the Seattle Public Library. He eventually created 75 fountain sculptures in the United States, Canada, and Japan. The fountains reflect his intense interest in the cyclical flow of water from the heavens to earth, creating rivers and oceans that nourish life. His basis of humanity in the Shinto religion indicated reverence for life in all forms made by nature, such as trees and rocks. 

Tsutakawa’s professional art career spanned 60 years. He was a professor of art at the University of Washington for 37 years. In his personal statement from The Pacific Northwest Artists and Japan in 1982, he expressed that sometime in the 1960s his travels and studies of traditional Japanese arts allowed him to reaffirm his “conviction in the Oriental view of nature school which sees Man as one part of nature, a part that must live in harmony with the rest of nature.” 

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Studio. 1960’s. #artist #studio #maquettes

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Thus Tsutakawa’s furniture from the 1940s and 1950s reveals this conviction to nature within his art and serves as the starting point for his later artistic forms. Although he was a modernist, even in his furniture forms, his work relates to the Japanese Mingei movement, which is largely based on traditional and folk art.

Tsutakawa’s early furniture is functional and evokes a connection to nature through fluid organic shapes and materials. 

The Tsutakawa family is currently reorganizing the artist’s collection with the hope of preserving his work and making it more open to the public as well. You can visit SAM to see Tsutakawa’s artwork in Exceptionally Ordinary: Mingei 1920–2020, on view through November 8, 2020.

– Mayumi Tsutakawa & Chyenne Andrews

Images: Installation view Exceptionally Ordinary: Mingei 1920–2020, Seattle Art Museum 2019, photos: Nina Dubinsky. Kizamu Tsutakawa 
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SAM Connects Teens to Design

This past summer, 10 teens from the Rainier Vista community joined Seattle Art Museum staff, Olson Kundig Architects, and Sawhorse Revolution for SAM’s one of a kind Design Your [Neighbor]hood Program. Each Design Your [Neighbor]hood program is unique, but this one was truly special because it was the first time that the youth participants got the chance to collaborate in the full design and build process. The teens worked with designers, architects, and builders to take their ideas from the visioning and planning stage, to ideation, refinement, and finally to building. 

Design Your [Neighbor]hood is a hands-on program run by Seattle Art Museum that exposes youth to all facets of design, and the connection between design and community change. From architecture to graphic design, fashion, and photography, youth have the opportunity to understand the breadth of this field, meet professionals through trips and office visits, and engage in design thinking and studio processes that give first-person experience.

This year’s group of teens living in the Rainier Vista community, near Rainier Vista Neighborhood House recognized a need for a community sound booth and recording studio. With so many budding performers and musicians in the neighborhood, they were often renting spaces for recording.

The design and build process involved a number of field trips during which the teens gathered ideas and inspiration from notable architectural spaces, and met with various professionals for advice. They visited the Bullitt Center on Capitol Hill and the Olson Kundig offices in Pioneer Square. They also worked to gather input on design ideas from their peers in the community, making sure to be inclusive of all voices and needs as they finalized their design.

After multiple refinements of the process through input from Chris Landingin, project manager at Batt + Lear, and Jesse Kingsley and Chris Poules, architects at Olson Kundig, the youth got to building. Collaborating with Sawhorse Revolution, the teens learned the essentials of power tool safety and introductory carpentry skills. Between the design refinements and the building time, it took them a little over seven weeks to complete their project.

The culminating celebration featured presentations from each teen on their favorite part of the program, specific skills they picked up throughout, and how they envision the space will be used by their peers and the community. Families, friends, and community partners all got a chance to participate in the celebration on a job well done!

Thank you to our partners, Seattle Housing Authority, Delridge Neighborhood Development Association, Olson Kundig Architects, Sawhorse Revolution, Christine Landingin from Batt + Lear, and Hearst Foundations for all of their support.

– Sarah Bloom, SAM’s Associate Director of Education

Photos: Eleanor Howell-Shryock
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Sea Change at SAM Gallery

Learn a little about one of the newest artists to join the SAM Gallery roster. Anne Marie Nequette‘s work will be on view in SAM Gallery from January –February 1 in the show New Art, New Artists 2020!

Nequette approaches her work from a background in sculpture, installation, and architecture. Her current body of work, Sea Change, focuses on the rapidly increasing displacement of people in coastal cities worldwide that are considered at high risk. She thinks about all of the people who live at the sea’s edge, and how water levels are now expected to rise, and where will those millions of people go? and how? She has long been concerned about “where we humans are headed regarding climate change, from forest fires to coastal flooding, from collapse of agricultural lands and practices to collapse of necessary species, oceans, and safe drinking water, etc. The power of water is something that many people underestimate, and only those who have survived a flood or hurricane have some idea of what that might be like.”

The idea and the initial list of cities for Sea Change came from an article in The Guardian in 2017.[1] It included interactive maps of Shanghai, Hong Kong, Osaka, Rio de Janeiro, Miami, The Hague, and Alexandria that showed the grave danger these cities face, given their high population numbers (Shanghai at 34.8 million in 2015) and/or precious agricultural land (Alexandria and the Nile Delta). She works abstractly, primarily in paint and collage. If she has been to the city depicted, she relies on her experience to create a color and texture palette from paper on which she draws and paints. If she has not been to the city, she reads about the city and travels via Google image, and Google satellite maps looking at the city from above as well as from the street, to get a feel for what it is like. As she works, she imagines a city that has become inundated, though not completely underwater.  Each of these works is titled with the population figures from governmental sources for the metropolitan areas and the works are named for the people, their cities, and the year the population number was last updated, i.e., ‘Shanghai, China, 39.4 million in 2015’.

– Pamela Jaynes SAM Gallery Coordinator 

[1] The three-degree world: the cities that will be drowned by global warming, (Friday, November 3, 2017) Josh Holder, Niko Kommenda and Jonathan Watts (updated May 28, 2018). 
Bangkok, Thailand, 14.6 million in 2010, Anne Marie Nequette, Collage on canvas. Keihanshin (Kyoto, Osaka, Kobe), Japan, 19.3 million in 2010, Anne Marie Nequette, Collage on canvas.
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