positive images of ourselves that are done with love,” said Muholi. “Let us
consume this self-love because our forefathers, our foremothers that came
before us never had the opportunity to speak for themselves.”
“Swift’s video, no
more than 10 minutes long, grapples with the concept of home, being home,
having a home, feeling at home in one’s body and community. In that
way, it fits well at Wa Na Wari. Where
do we belong?”
Artforum reports that Werner Kramarsky passed away this week at the age of 93; a formidable
collector, he donated 25 drawings to SAM over the years.
We are honored to support the transformation of the Seattle Asian Art Museum. As children, we both grew up visiting SAAM and were awed by the massive art deco building and exposure to rich culture within the museum. While raising our children, we visited the museum on school field trips and family outings, so it wasn’t surprising when our son, Michael, chose to take his senior pictures in front of SAAM. When we learned that the historical building was in desperate need of improved infrastructure and climate control as well as expanded exhibition and learning spaces, and we wanted to be involved. SAAM is a Seattle gem with its unique location within Volunteer Park and long, relevant history. This treasured landmark will offer locals and visitors an opportunity learn about the diverse art, culture, values and traditions of Asia for years to come.
24 local bakers have signed up to create signature desserts inspired by artworks of their choosing in Victorian Radicals. At the event, bakers will present their work to the judges, explain their approach and inspiration. Judges will select one baker based on criteria of taste, relevance to artwork, and presentation. The winner will be awarded $500. Here are just some of the artworks selected as inspiration!
Our three judges may not be tossing out catchphrases but they are certainly bringing some serious skill to this lovely affair. Meet our three tastemakers below.
Rachael Coyle Rachael is a graduate of the French Culinary Institute and is the owner of Coyle’s Bakeshop. Previously, Rachael was Executive Pastry Chef at Le Pichet and Cafe Presse.
For me, baking is as much about texture as it is about flavor, so I’ll be looking for pieces that show balance and skill in both areas. I love seeing well-executed classics—but I especially love when a piece can play with something familiar just enough to make it new and interesting. Last, and very much not least, good technique is essential to good baking, so I’ll be checking that all the individual components (pastry doughs especially!) demonstrate good technical skill. But most of all: I can’t wait to see what the bakers create!
– Rachael Coyle
Chiyo Ishikawa Chiyo is Seattle Art Museum’s Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture and curator of Victorian Radicals.
I am hoping that contestants will be inspired by some of the objects in the exhibition—there are great images using flowers, vivid colors, and lots of detail. I am particularly hoping someone might want to take on some of the three-dimensional decorative arts objects that pile on Romanesque, Byzantine, and Gothic styles and use jewels, enamel work, and sculpted forms. More is more!
– Chiyo Ishikawa
Sara Naftaly Sara is a graduate of the French Culinary Institute and is owner of Amandine Bakeshop. For 30 years prior, Sara was co-owner of Le Gourmand.
For me, presentation cakes are a little like beautiful people. If there is no integrity on the inside, no depth of flavor, no individual character, then the resulting impression is eminently forgettable.
– Sara Naftaly
Although the audience can’t sample the desserts, we will have a bar and dessert options provided by TASTE during the event. Definite bonus, a limited number of free community passes will be made available for visitors to view Victorian Radicals which is open until 9 pm.
Beckoning visitors at the end of a long hallway inside Victorian Radicals: From the Pre-Raphaelites to the Arts and Crafts Movement is an interactive art activity inviting visitors to experiment with ideas connected to the exhibition. Created by artist Allison Kudla, visitors build designs using small pieces of discarded plastic pulled from ocean beaches through community clean up events, organized by the non-profit group Ocean Blue Project. As you build your design a camera captures the work, and the image, translated through a computer program, is projected into a kaleidoscopic pattern on the wall, mimicking the William Morris wallpaper surrounding it. You have until September 8 to see the exhibition, featuring a range of works by Morris and his peers, and to interact with Kudla’s art activity in the galleries.
Awarded a PhD in 2011 from the University of Washington’s Center for Digital Arts and Experimental Media (DXARTS), Kudla originally titled the work Radical Anthropocene, to focus on human activity as the dominant influence on climate and the environment. Prior to her PhD work, Kudla earned a BFA from the School of the Art Institute of Chicago, 2002, with an emphasis on art and technology studies. We sat down with the artist to discuss this engaging art interactive, hear from her below!
SAM: Tell us about your process creating
Allison Kudla:The Radical Anthropocene project was based on a prior work I created for Summer at SAM in 2015. That work, titled Digital Kaleidoscopes of Nature, was an interactive workshop wherein people visiting the Olympic Sculpture Park could select from plant cuttings from the park to create digital kaleidoscopes. SAM approached me to adapt the project to become a wallpaper, rather than a circular kaleidoscope, that would be placed in response to William Morris’ wallpaper.
When considering the material or objects to be used to create the wallpaper, I thought about Morris, his ethics, values, and poetry. I knew I didn’t want to buy mass-produced items, but I did want to talk about industry and where we have come since Morris’ era. His care for our relationship to nature and warning of the future that might occur due to industrialization, were the cohering agents when I determined what the objects to use in creating the digital wallpaper. We are in the middle of a waste crisis on multiple levels. Perhaps the Naturalists of the Anthropocene are those that are working to clean up, invent sustainable materials, and regenerate human culture on the planet.
The Ocean Blue Project, based in Oregon, regularly
organizes community beach cleanups to extract the detritus of industrialization
from the ocean. The oft-called “marine debris” that was sent to me for
selection and placement included plastic forms, shapes, textures and colors—some
recognizable objects, others only fragments, and all created through a process
I teamed up with my colleague, Dr. David Gibbs, a senior research scientist at ISB, who created the project’s code in Python. We worked collaboratively through GitHub with SAM’s Cooper Whitlow to complete the project
Do you collaborate with people in other disciplines on a regular
Yes, absolutely. I think working with people in other disciplines is mutually beneficial. Cross- or interdisciplinary pursuits tend to push us out of our comfort zone. If I can work as a colleague with a scientist, and a scientist can work as a colleague with an artist, we are both getting an opportunity to be in the imposter zone. Though this word, imposter, may have negative connotations, the truth is that when we feel this way we are often learning new things, growing, beginning to think from a different perspective, and potentially forming new views of our work. This is inherently positive. Also, it is fun to work with other people, so there are social aspects to that as well.
What brought you to pursue a PhD in the intersection of Art and
I studied fine art at the School of the Art Institute of Chicago. This trailblazing school didn’t require their students to pick one discipline, but rather let the course catalog be exactly that; a catalog. Each semester I would pick my classes thinking about what I was genuinely interested in learning. I didn’t know what kind of artist I wanted to be when I started there, but by the end, after moving through painting and fiber arts into video and finally art and technology, I realized that it was the creation of new art forms and new knowledge where I found the most satisfaction. When I joined the PhD program at UW, DXARTS (Digital Arts and Experimental Media), it was in its first year. Not only was it a pioneering new program, it was founded on exploring cutting-edge, research-based art. I decided to take the X in DXARTS and run with it. Through that, I established a practice intersecting experimental biology, specifically plant biology, with computer-aided design and fabrication processes.
Where else can we see your work?
Due to the living nature of many of my works, they often are only presented when specific facilities and resources are secured, and typically solely for the purpose of creating a cultural experience for an audience. In short, my work, because it is living, is very hard to collect and often tricky or expensive to produce. When it is produced, it has a finite duration and potentially unknown outcomes, thus making it a “risky” choice for many typical arts establishments. Despite those challenges, the Centre Pompidou in Paris, France recently acquired one of my most complex works, “The Capacity for (Urban Eden, Human Error).” It was an amazing experience to transfer the knowledge of the piece to the museum and have valuable conversations with the technology team and the collections managers about not only the maintenance of the living work during the two-month lifespan of when it is on display, but also on the conservation of the whole system for decades to come.
What do you plan to do with the images created from the in-gallery
experience at SAM?
It is another research project for me! I am fascinated by what people choose to “save” or determine as beautiful in the context of the activity. I am also fascinated by patterns and am interested in creating interactive projects where the audience is engaged in creating the work and feeding back into the system itself. In the future, I hope to use the images as a negative control for a classification system I plan to develop around the history of pattern-making using data science and libraries of ornamental patterns. I have been attempting to garner resources to move this project forward, but as you can imagine, longer-term funding in fringe areas like this can be hard to find.
For now, I created this compilation of several of the hundreds of patterns that were saved.
“The humans of our
times are so used to kitsch. But for the Victorians, it was completely new. It
was radical. This is the mind-set the exhibit wants us to enter: one that had
no past, only the future. The Victorian age is the cradle of our
“Why see one sculpture
when you can see nine acres of them?” Business Insider on popular US tourist
where to go instead—like SAM’s Olympic Sculpture Park.
Berson on “The Bar Plays,” two
plays set in bars presented in a real-life “venerable gathering
place,” Washington Hall.
“The thing that
we’re living under doesn’t seem to be working for us, so maybe we need to
imagine a new thing,” said Pruitt. “Myth, science fiction, all of that is a way
to kind of for me to think about another kind of way of living.”
outline a more fraught view of the art of the last century, in which the
refugee is not an outsider looking in, but a central actor in the writing of a
global culture. ‘Refugees,’ Arendt wrote in 1943, ‘represent the vanguard of
their peoples — if they keep their identity.’”
SAM director and CEO Kimerly Rorschach shared the museum’s position on proposed changes to Washington State’s overtime rules. These changes are long overdue, and SAM has been a leader in implementing adjustments. However, a slower ramp-up would be more sustainable for non-profits.
Author Toni Morrison
died this week at the age of 88. This New York Times obituary celebrates her “luminous,
incantatory prose resembling that of no other writer in English.”
“Ms. Morrison animated
that reality in prose that rings with the cadences of black oral tradition. Her
plots are dreamlike and nonlinear, spooling backward and forward in time as
though characters bring the entire weight of history to bear on their every
In addition to their
booth-to-booth coverage of this past weekend’s Seattle Art Fair, Crosscut has
pieces by Emily Pothast and Margo Vansynghel examining the various outcomes of the Fair on
the local art scene.
“The festival will
highlight ‘artist-driven portraits of identity,’ which will take many forms
including visual art and performance, according to co-curator and dance artist
David Rue. ‘We’re using this approach so that artists can provide a
counterpoint to the dominant narrative told about people that look like them
while celebrating the power of culturally responsive rigor.’”
“What Does Radical Love Look Like?” Hyperallergic’s Seph Rodney explores that
question at the Ford Foundation Gallery’s latest show, featuring work by
Athi-Patra Ruga, Lina Puerta, and Ebony G. Patterson.
‘”This is someone
becoming — finding themselves, finding their voice, finding their practice,’
Ms. LaBouvier said. ‘I didn’t want to make him into a myth, or make him into a
sort of trauma-porn story either. And I thought the best way to do that was to
take a step back and let him speak for himself.’”
to Marvin Oliver, artist and professor emeritus at the University of
Washington, who died this week at the age of 73.
“’We have lost an amazing mentor and elder in our community and his
legacy will live on,’ Olsen said. ‘And those of us who understand his vision
and mission to support the Native students and enhance the visibility of Native
art and culture will make him and keep him proud and forge on with his