All posts in “Behind the Scenes”

VSO Kay Dien Fox

Get to Know SAM’s VSOs: Kay Dien Fox

Kay Dien Fox was born in China and moved to Seattle with her adoptive parents when she was nine months old. The nickname her parents gave her, Kay Dien, not only fits her personality but also represent her culture and ancestral heritage. It originated from a combination of her legal name Katherine (Kay) and her Chinese name Dien Dien. Since graduating in March of this year, she took a road trip along the West Coast and travelled to Spain. After returning, she realized she should probably get a job and, fortunately, a friend sent her a link to SAM’s career page. She applied to become a Visitor Services Officer (VSO) and could not be happier that she did.

SAM: What are your thoughts on Yayoi Kusama: Infinity Mirrors?

Kay Dien: It’s an incredible exhibition and it doesn’t surprise me that it sells out every day. My favorite piece is The Aftermath of Obliteration of Eternity. The lights inside the infinity room are on a cycle so the visitor doesn’t know what part of the cycle they will get to experience. The room evokes various responses from the visitor, many exclaim how awesome the room is and some use the room to have a meditative experience.

What is your favorite piece of art currently on display at SAM?

John Grade’s Middle Fork. I didn’t initially read the description of this piece, but I got enough questions about it that I figured I should know more (other than that it looks like a big tree trunk). After reading the description of Middle Fork, it instantly became my favorite piece on display. Grade combined two wonderful aspects of life: art and nature, to make this prominent piece that hovers over the forum.

Who is your favorite artist? 

My favorite artist at the moment is the band The Antlers because of their album Hospice. It’s a beautiful album and not quite as depressing as the title would make it seem.

What advice can you offer to guests visiting SAM? 

Take your time—unless we give you the 15 minute warning, then please make your way towards the door.

Tell us more about you! When you’re not at SAM, what do you spend your time doing?

When I’m not at SAM I like to spend time outside and hanging out with people I care about. I also enjoy film photography and traveling. I’m still figuring out what I want to do in the future, but I am planning a 100 day road trip next year.

– Emily Jones, SAM Visitor Services Officer

Photo: Natali Wiseman.
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Behind the Scenes of Yayoi Kusama: Infinity Mirrors

“All of the drawings, the paintings, and the sculptures that you will find in this exhibition, give you a context of how and why she arrived at these Infinity Mirror Rooms and why they are so very special.”
– Catharina Manchanda, Jon and Mary Shirley Curator of Modern and Contemporary Art

Take a look behind the scenes of Yayoi Kusama: Infinity Mirrors with curator Catharina Manchanda, on view at Seattle Art Museum until September 10. Don’t miss your chance for this in-depth perspective into a legendary artist’s 65-year career—Plan your visit to SAM today!

 

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Crepin

The Ins and Outs of Acquisitions: A Newly Discovered French Masterpiece

Adding a piece to a museum collection is an involved process. In the case of Shipwreck Off the Coast of Alaska, a painting by Louis-Philippe Crépin, the first interaction was on a trip to London when Chiyo Ishikawa, SAM’s Susan Brotman Deputy Director for Art and Curator of European and Sculpture got an email from Christie’s auction house in London about a private sale of a uniquely important painting.

Museum curators continually consider art for the museum’s collection. They assess intellectual and historical importance of artworks, ownership, relevance to the larger collection, as well as condition, potential costs for conservation, framing, display, and storage. SAM’s collection includes approximately 25,000 objects, with 36 new artworks acquired so far in 2017.

To acquire a work of art, the curator has to first convince the director and then the Committee on Collections (COC), an advisory group of board members and community arts leaders, who, in turn, make recommendations to the Executive Committee of the Board, which has the final vote.

To give you a peek into the acquisition process, below is the curatorial argument for this newly acquired painting by Louis-Philippe Crépin.

This painting represents a shipwreck of two launches from the famous French Enlightenment-era expedition led by Count Jean-François de La Pérouse, which reached Alaska in July 1786. The ships were getting ready to leave Lituya Bay when two boats were caught up in violent tidal currents and one boat capsized. The second vessel may have tried to rescue the sailors but itself went under. This painting was commissioned by the family of two brother officers who were killed in this event, and it was enthusiastically reviewed when it was displayed at the 1806 Salon. It has been in the family since that time.

La Pérouse’s expedition into the Pacific Northwest followed celebrated efforts by Spanish and British explorers in the previous decade. Scientific inquiry was a primary motivation, but the explorers were also seeking political advantage for their governments. On July 2, 1786 the expedition arrived at a previously uncharted bay on the Alaskan coast. La Pérouse named it Port des Français, but we know it today as Lituya Bay. After successfully navigating the rocky entrance to the bay, the crews set up camp, planning to stay for a month to explore the bay and glaciers on the mainland at the northeast end of the bay. They concluded their investigations sooner than planned and made ready to leave on July 13. Two boats were sent ahead to sound the channel near the perilous entrance to the bay so that they could chart the depth; one officer miscalculated the distance from the rocks and found his boat engulfed by a sudden high tide. Both boats capsized, and twenty-one men were lost in ten minutes.

The painting closely follows La Pérouse’s own narrative of the disaster and draws on images by the professional artists who illustrated the Atlas du voyage de La Pérouse. The two endangered boats teeter in the foreground amid boulders and high waves as a third tries vainly to reach them. The two mother ships emerge from behind Observatory Island (after the tragedy, La Pérouse redubbed this Cenotaph Island). The urgent efforts of the sailors caught up in the roiling waves are set against the majestic backdrop of the Fairweather mountain range. At the right, gesturing from a rock, are two members of the Tlingit tribe, witnesses to the event, who searched in vain for survivors, according to La Pérouse. The interaction with the French and the story of the shipwreck would remain part of the Tlingit oral tradition.

Crépin captures the men’s desperate actions as conditions suddenly changed. The two La Borde brothers, in the boat at right, offer a line to their doomed comrades just before they too are swept under. The terrible drama is all in the foreground, at eye level. Beyond the turbulent waves in the pass the bay is calm, the mountains of the Fairweather range are impassively still, and the sky is clear and blue.

Born in Paris, Louis-Philippe Crépin was a specialist in marine painting who had trained under celebrated artists Claude-Joseph Vernet and Hubert Robert. His interest in marine subjects kindled by Vernet, Crépin made his debut at the Salon of 1796 with a painting of the port of Brest. His primary patron throughout his long career would be the Naval Ministry of the government. Many of his works are in the National Maritime Museum in Paris, while others are in provincial museums throughout France. This work would likely be the first painting by Crépin in an American museum.

This painting transcends the standard conventions of marine painting. It stands alone within the artist’s oeuvre, achieving a peak of clarity, drama, and pathos that are typical of more highly valued history painting. The prestige of the La Pérouse expedition, the spectacular American landscape, and the portraits of the Laborde brothers make this one of  Crépin’s most outstanding works. In his review of the 1806 Salon, Pierre-Jean-Baptiste Chaussard singled out the painting: “But the most beautiful painting by M. Crépin, and the one which most attracted the attention of art lovers and artists, was the Shipwreck of the Dinghies of M. de la Peyrouse. It is in this tragic event that he has deployed all his genius and all the resources of his art. The scene is represented with a touching simplicity, and yet with an energy which inspires at once terror and pity. There are no superfluous figures or accessories: all dramatic interest is in the truth of the action. . . . In sum, this painting promises that he is the rightful successor to Vernet, and that no other country has produced a rival to match this celebrated man.”

In addition to the painting’s superb quality, it has never been on the market, remaining in the family that commissioned it for over 200 years. This undoubtedly has contributed to its excellent state of preservation. The Empire frame, an impressive part of its visual impact, is from the same period as the painting.

Like the curators of the Salon, Ishikawa saw something exceptional in this work that lent itself to SAM’s focus. “It offers an insight into the European perspective of the Northwest as an uncharted area that hadn’t been recorded—the wonder and exoticism. Count Jean-François de La Pérouse who led the expedition to Lituya Bay, which at the time he named the Bay of the French, though it was clear by the trading skills of the Tlingit that this expedition was not the first to find this bay.” Ishikawa continues to point out that, “Crépin is not a famous artist but this is a painting that transcends its genre. It’s an impressive and successful example of human drama.” See this painting installed in Extreme Nature: Two Landscape Paintings from the Age of Enlightenment, opening December 23. Accompanied by the return of  Volaire’s much admired Eruption of Mount Vesuvius with Ponte della Maddalena in the Distance, painted around the same time as the Crépin and last seen hanging at SAM this spring in Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, this installation will instill a very human awe and fear in the face of nature’s power.

Image: Shipwreck Off the Coast of Alaska, 1806, Louis-Philippe Crepin, French, 1772-1851, oil on canvas, 40 15/16 × 58 11/16 in., Seattle Art Museum, European Art Acquisition Fund; Bill and Melinda Gates Foundation Art Acquisition Fund; by exchange Gift of Mrs. Lew V. Day in memory of her husband; Gift of Arthur F. Ederer; H. Neil Meitzler, Issaquah, Washington; Col. Philip L. Thurber Memorial; Gift of Mrs. Donald E. Frederick; The late Mr. Arrigo M. Young and Mrs. Young in memory of their son, Lieut. (j.g.) Lawrence H. Young; Phillips Morrison Memorial; Gift of Mrs. Oswald Brown, in memory of her parents Simeon and Fannie B. Leland; Gift of Miss Grace G. Denny in memory of her sister Miss Coral M. Denny; Gift of friends in memory of Frank Molitor; Purchased from funds contributed in memory of Henry H. Judson; Purchased from the bequest of Charles M. Clark; Gift of Mrs. John C. Atwood, Jr.; Norman and Amelia Davis Collection; Norman Davis Collection; Mrs. Cebert Baillargeon, in memory of her husband, 2017.15.
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Kusama with Zoë Dusanne at her solo exhibition at the Dusanne Gallery, Seattle, December 1957.

Kusama’s Full Circle

“My constant battle with art began when I was still a child. But my destiny was decided when I made up my mind to leave Japan and journey to America.”

–Yayoi Kusama

Yayoi Kusama declared her official purpose on her visa application to the United States in 1957 as exhibiting art in Seattle. Few people remember that this internationally renowned artist’s first exhibition in the US was a solo show at the Zoë Dusanne Gallery. It included a group of roughly 20 watercolors and pastels selected from the 200 works that Kusama brought with her to America on this first trip. Kusama began her international career here in Seattle, where her celebrated work now returns with in the dazzling new exhibition, Yayoi Kusama: Infinity Mirrors at SAM through Spetember 10.

Yayoi Kusama: Infinity Mirrors spans 65 years of the artist’s career, from the era of Kusama’s early pastels to recent works making their North American debut. The exhibition features five of her immersive, multi-reflective Infinity Mirror Rooms, including the recently completed All the Eternal Love I Have for the Pumpkins (2016). Interspersed among the Infinity Mirror Rooms from which the exhibition draws its title, are paintings and sculptures which Catharina Manchanda, SAM’s Jon and Mary Shirley Curator of Modern and Contemporary Art, describes as, “the backbone of Kusama’s artistic practice.” Manchanda further explains, “This exhibition is a unique opportunity to see the life work of a true visionary. Taken together, Kusama’s drawings, paintings, sculptures, and infinity rooms add up to a Gesamtkunstwerk [total art work]. Her web-like structures are equally reminiscent of microscopic cell formations or macroscopic visions of outer space. I recommend looking closely at these works. They are the key to understanding the infinity rooms.”

As Louis Guzzo pointed out in a 1957 Seattle Times feature on Kusama’s Dusanne Gallery show, “Several of the smaller works are beautiful, but one must study them closely to realize the intricacies of their microscopic worlds.” Kusama asserts all of her work is part of a whole, a whole that we are all a part of in Kusama’s concept of the infinite.

In 1959, two years after her Seattle gallery exhibition, the prolific artist and writer Donald Judd wrote of a Kusama show in New York: “Sidney Tillim writing in Arts, predicted that the show would prove the sensation of the season. It did prove to be so and has remained one of the few important shows of the last two years.” Judd’s remarks could have been written last week, as Kusama’s work remains as sensational today as it was in 1959.

– Chelsea Werner-Jatzke, Copywriter/Content Strategist

Image: Kusama with Zoë Dusanne at her solo exhibition at the Dusanne Gallery, Seattle, December 1957.
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SAM at American Alliance of Museums 2017

The theme of the American Alliance of Museums 2017 Annual Meeting was Gateways for Understanding: Diversity, Equity, Accessibility, and Inclusion. I appreciated how the various sessions I attended and the conference overall tackled this themes in all aspects, from identities (race, ethnicity, sexual orientation, gender identity) to abilities. It is apparent that these things are at the forefront for professionals in the field from museums of all sizes, of all types, and from all areas of an institution, and that these issues are incredibly integral to shaping the future of the museum.

The #AAM2017SlaveAuction incident in the MuseumExpo during the conference however, indicated that even though these conversations and the work around these things are happening, we still have a long way to go. We need to find ways to hold ourselves accountable, have everyone on board at all steps in the process, and ensure we have the right voices at the table. To me, much of the work to shake up our institutions needs to start from within before our museums and cultural spaces can have external influence. Even though these conversations are happening at large in this moment, it’s also important to acknowledge that the things we seek to undo and change have been embedded in the fabrics of our institutions. In many ways these conversations are not new and have been happening outside of our institutions for years already. The conference left me optimistic and hopeful, so I’m excited to see where things go!

– Marcus Ramirez, Coordinator for Education and Public Programs

For more on SAM’s participation in AAM 2017 and thoughts from our staff on this year’s themes listen to the panels the SAM staff presented on during the conference.

Radical Equity and Inclusion featuring David Rue, SAM’s Public Programs Coordinator

Beyond the Buzzword featuring Sarah Bloom, Senior Manager for Teen, Family & Multigenerational Programs and Learning

Co-curating in a Changing City: Library/Museum Partnerships featuring Regan Pro, Kayla Skinner Deputy Director for Education and Public Programs

It’s Critical: Evaluating Museum Volunteers featuring Jenny Woods, Manager of Volunteer Programs

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Beneath the Surfaces: Conservation and Care at the Olympic Sculpture Park

Stroll through the Olympic Sculpture Park on a summer day, and you’ll find yourself immersed in an overload of the senses. The Puget Sound scents the air around Alexander Calder’s towering sculpture, The Eagle, with a salty freshness, while the waves below lap in the wind. Uninterrupted sunlight warms the curving, concrete benches of Roy McMakin’s Love & Loss to the touch. Bike commuters coast along the Elliott Bay Trail, an urban artery connecting bustling downtown Seattle and the neighborhoods to the north. But while visitors enjoy the natural and manmade beauty of the park, the outdoor sculptures on view are constantly under attack by the very elements that makes the park so special.

This coalescence of elements within the Olympic Sculpture Park provides a different sensory experience when your job is to preserve its works of art. SAM’s Chief Conservator Nicholas Dorman explains, “It’s a pretty aggressive environment out there. When the sun does shine, it’s unimpeded and bounces off the Sound, creating very intense light levels. Unhindered wind also comes through, carrying salt and lots of pollution. All of these elements break down the sculptures’ materials over time.”

Love & Loss

Care for each sculpture in the park requires attention to a range of factors that include its materials and fabrication, the artist’s or foundation’s intentions, and SAM’s curatorial and exhibition design philosophies. It’s easy to understand that the illuminated ampersand in Love & Loss requires upkeep in order to keep glowing. However, even its concrete benches and paths are prone to deterioration. Once a sculpture requires intervention, the conservators must consider many questions before deciding on a solution. Liz Brown, SAM’s Objects Conservator, describes, “When I’m looking for a treatment system, I have to keep in mind everything from how the public might interact with the piece, to the artist’s intent, to how the sculpture and the materials we apply are going to react to the environment.”

Coating the surface of Love & Loss is one part of its conservation treatment. When the conservators found that the original acrylic-polyurethane coating wasn’t performing well within the interactive environment of the installation, Brown worked with artist McMakin to replace it with a water-borne acrylic paint designed for pools, which she reapplies every year in order to preserve the aesthetic he originally envisioned for the piece. By comparison, sculptures painted with matte, highly pigmented paints, such as The Eagle and Tony Smith’s Stinger, are susceptible to damage by human touch because oils and contact more easily mar and break down the underbound coatings. The park’s proximity to the Puget Sound also brings the problem of chloride corrosion, making the coatings’ maintenance essential to the preservation of the metal sculptures.

As summer approaches, much of the conservation work at the park moves from behind-the-scenes to more publicly visible processes. Brown will soon begin cleaning all of the art and treating areas where corrosion has appeared. Several larger projects will also take place. This year, she hopes to manage refabrication of the Love & Loss ampersand and to determine a painted surface that will work for that portion of the sculpture in the long term. The next time you’re at the park, sitting on Love & Loss may feel a bit different, knowing more about the care that lives both within and beneath its surface.

—Erin Langner, Freelance Arts Writer and Former SAM Adult Public Programs Manager

This post is the fourth installment in a series of stories exploring the history of the Olympic Sculpture Park in celebration of its 10th anniversary. Over the course of this year, we will continue reflecting on the Park’s evolution over the past decade.

Images:  Photo: Benjamin Benschneider. Love & Loss, 2005-2006, Roy McMakin, American, b. 1956, mixed media installation with benches, tables, live tree, pathways and illuminated rotating element, Overall: 288 × 480 in., Olympic Sculpture Park Art Acquisition Fund and gift of Paul G. Allen Family Foundation, in honor of the 75th Anniversary of the Seattle Art Museum, 2007.2, photo: Benjamin Benschneider, © Roy McMakin. Stinger, 1967-68 / 1999, Tony Smith, American, 1912-1980, steel, painted black, 6 ft. 6 in. x 33 ft. 4 1/4 in. x 33 ft. 4 1/4 in., Gift of Jane Smith, 2004.117, photo: Paul Macapia © 2006 Estate of Tony Smith.
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Ping’s Puzzle: Putting Together a New Narrative for the Asian Art Museum

While the Asian Art Museum is closed in preparation for renovation, our curators are staying busy. Hear from Ping Foong, Foster Foundation Curator of Chinese Art, on what she’s busy with and how it will impact the Asian Art Museum.

SAM: What are you working on while the Asian Art Museum is closed for the next 18 months?

PING: I’m hoping to convene a panel of senior advisors to help us address big-picture questions for the museum: What defines Asian Art? How can we define Asian Art in the 21st century? What are the boundaries of Asia that we want to talk about? What role does contemporary Asian Art play? What role does less represented areas of Asia play? The term Asia doesn’t refer only to East Asia (China, Japan, Korea) or South Asia (India and Pakistan). So one of the big questions is how to balance the stories the collection itself can tell versus the stories we ought to tell. So, basically I’m asking my elders for help.

A motivation for the proposed renovation is to better display South Asian artworks, correct?

Yes, this is not my area, so I found us expert help: a senior curator of South Asian art will join my team as a consultant so that we will have “three pillars” representing our collection—China, Japan, and South Asia. Another important question is what role must Islam play in the display of Asian art. Islamic art is not geographically specific. Right? So, we have on display right now downtown a room full of Islamic art, but then the question is should it also be included in the Asian Art Museum? Where do you draw those lines? That’s an important question to ask. And how do we ask these questions? Well a curator has a very important role in these things, but I like to have feedback. I want this to be part of a conversation.

How do you see this conversation impacting the future of the Asian Art Museum?

The theme that surfaces often is transcultural connections. There are objects that cannot be defined by religion. We want to talk about how artistic styles travel. Other things travel that you may not imagine. For instance, tattoos travel because they’re on the body. I like to think about the ways that color travels. I would love to make a room full of color talking about the way that trade connects Persia and China. Cobalt goes from one end of the world to the other end and gets made into something and comes back. This process of going back and forth can be demonstrated with objects.

In the meanwhile, what sort of Asian art will be on view at Seattle Art Museum?

Yayoi Kusama: Infinity Mirrors is on view this summer. People are very excited about that exhibition. Another reason to be excited is Pure Amusements: Wealth, Leisure, and Culture in Late Imperial China. It’s basically a scholar’s objects show with a twist. Certainly, you get to see some very important examples of well-known furniture, lovely Ming dynasty chairs, elegant brush pots, pens—the kinds of objects that a scholar might need for everyday life. But the theme of the show is that these things are not just necessarily belonging to scholars. They belong to people who aspire to join the community scholars, or to participate in scholar culture. These beautifully crafted objects may have been made for somebody who wants a scholar’s object, but is not a member of that class.

Also, it’s a chance to display things we’ve never displayed before. I found a set of very nice ink sticks that belonged to one of the most famous Chinese emperors. He lived in the 18th century and collected like a maniac. He was probably the greatest emperor collector on earth; no one had a bigger collection than him! These ink sticks are little and each of them looks like a tiny musical instrument. With an ink stick, you rub it with a little bit of water against the inside of an ink stone and you create ink you can use in paintings or calligraphy. They’re ephemeral, they disintegrate, but yet these ink sticks are so beautifully crafted.

Sounds like we won’t be missing out on Asian art in the interim. But what will you miss most while the Asian Art Museum is closed for proposed renovation?

Well, I miss a number of things. The offices, for example, those will change. They are historic offices. There’s history in sitting on those seats and that will go away. The plan right now is that where the current offices are will become perhaps the conservation studio and the administrative offices will move. So I will miss my beautiful window. I have a tree outside it. That was my favorite part about working in the park. As objects are concerned, I’ll miss my favorite Buddha.

What are you most excited about maybe in terms of the new space?

We’re planning on two new education spaces. Currently, we’re busting at the seams on Saturdays because we cannot accommodate all the kids who come to the museum. So we’ll have one space in the lower level, an art-making area, and a family area upstairs that is currently a gallery. It’s one of the most important parts of the proposed renovation because we just don’t have room for that currently.

Anything else you want to share about your future plans for the Asian Art Museum?

I think that the conversations we’re having with our advisory panel have to happen now, as I’m formulating ideas. And I do have some crazy ideas. I’m not sure if I can talk about them yet. It’s like this: Permanent collections—we’ve got to bring them a little love. You know? I want to put together a new and exciting narrative that people will love now and in the future.

– Chelsea Werner-Jatzke, Copywriter & Content Strategist

Photo: Natasha Gillett
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Get to Know SAM’s VSOs: John Jung-Simard

Originally from Baton Rouge, Louisiana, John Jung-Simard moved to Seattle in 1984. He received his bachelor degree in French from University of Washington and his masters in theology from Seattle University. He worked in a variety of settings including pubic health research and a library shipping warehouse before coming to SAM in 1997. Although there was a period in 2001 when John took on another job, he eventually came back to SAM, where he considers the job similar to being part of a family.

SAM: In the Brotman Forum, John Grade: Middle Fork has been on display since February. What stands out to you about this new addition?

John: John Grade’s Middle Fork sculpture is so large, it’s amazing it got completed. It’s the teamwork involved that amazes me the most.

What is your favorite piece of art currently on display at SAM?

Among many others, the Asante gold pieces on the 4th floor could be my favorites. They might seem inconsequential, but they’re actually prized possessions in that culture. I love so-called emphera, and these works could be seen that way. They are pristine and lovely. The Soul Washer’s Discs are really great.

Who is your favorite artist?

I love Cy Twombly. There’s a whole museum dedicated to him in Houston. His paintings look like children’s doodling, or graffiti, but I find it very moving: it’s like ancient scribbling on a wall from some obscure place.

What advice can you offer to guests visiting SAM?

Take it slow. Unless you’re here for a specific show, just go with the flow. That will help you find unexpected gems.

Tell us more about you! When you’re not at SAM, what do you spend your time doing?

I’m not a practicing artist, but I love art, old & foreign films, off-kilter music, and reading. I love animals, and often say hello to them, even when I’m driving in my car.

Katherine Humphreys, SAM Visitor Services Officer

Photo: Natali Wiseman.
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View from Above: How Art, Environment, and Community Come Together at the Olympic Sculpture Park

The Trust for Public Land Terrace resides at one of the Olympic Sculpture Park’s most active intersections. The Terrace is one of the best places to watch people gathered to picnic, sketch, and listen to live music on the grassy tiers of the Gates Amphitheater that cascade down to the valley. Richard Serra’s massive sculpture, Wake, looks especially striking with the surrounding landscape seen from the Terrace surrounding the PACCAR Pavilion. The contrast of the green firs, cedars, and hemlocks in the surrounding valley highlight the industrial steel sculpture’s organic color and forms.

 

The Trust for Public Land’s role as SAM’s partner in the creation of the Olympic Sculpture Park is embodied in the intersection between art, nature, and community that can be seen from the Terrace. The two organizations worked together to purchase and clean up the former Unocal (Union Oil of California) brownfield site that became the Sculpture Park. In turn, the park speaks to a number of environmental goals relevant to The Trust for Public Land’s mission. Shaun O’Rourke, the national organization’s Green Infrastructure Director, explained, “Increased urban green space is at the core of our mission to create healthy livable communities for generations to come . . . Cities need to think about how they can solve multiple problems at one time, and parks offer unique solutions for climate adaptation.” He went on to describe how the Olympic Sculpture Park addresses many of The Trust for Public Land’s Climate-Smart Cities program objectives by cleaning up and converting a former industrial site into one that has a more resilient coastline edge, connecting the city directly to the water, and reducing the heat island effect by introducing high-reflectivity pavement to the site.

When considering the environmental achievements of the park, Julie Parrett, a former project manager for the Charles Anderson Landscape Architecture firm that contributed to the park’s design, pointed to its storm water collection and drainage system. She explained, “Any precipitation that falls on the park’s eight and a half acres outflows directly into Elliott Bay, as opposed to being taken all the way over to a treatment center near Discovery Park.” This is possible because the Sculpture Park is filled with native plantings that don’t require the use of pesticides, herbicides, or insecticides that would contaminate the storm water—an important innovation 10 years ago that has since become more common in parks throughout the country.

The Trust for Public Land Terrace offers the vantage point it does because it sits atop one of the highest points of the park’s varied topography. As Parrett explained, many of the hills and valleys resulted from the addition of clean fill to the site. In this case, the fill was brought from the SAM’s building excavation downtown, whose expansion was being constructed at the same time. Instead of trucking in new fill from elsewhere, the Olympic Sculpture Park reused the excavation debris as landscape features.

Next time you find yourself relaxing on the Terrace, consider yourself integral to The Trust for Public Land’s aim of creating community cohesion by getting people outside. As Martha Wyckoff, national board member for The Trust for Public Land and SAM trustee said, “The Olympic Sculpture Park is not a static place. It’s dynamic by its landscape, by being an art center and as a major connector for how we flow through an increasingly dense part of our city.”

—Erin Langner, Freelance Arts Writer and Former SAM Adult Public Programs Manager

This post is part of an ongoing series exploring the history of the Olympic Sculpture Park in celebration of its 10th anniversary. Over the course of this year, we will continue reflecting on the Park’s evolution over the past decade.

Images: Photo: Robert Wade. Photo: Robert Wade.  Photo: Robert Wade.  Photo: Nathaniel Wilson.

 

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