For Libra season I’ve chosen to discuss Lynette Yiadom-Boakye. A British artist whose work focuses on people of color, Yiadom-Boakye’s painting, Trapsprung is currently on view on SAM’s third floor. The subject of the painting is a ballerina with her back to you one leg effortlessly lifted into the air in a battement to the side. More than a painting of grace, Yiadom-Boakye is calling attention to the lack of women of color in ballet, in depictions of ballerinas, and to the racism that accompanies a dark-skinned woman in that métier. Listen to choreographer, Donald Byrd on Trapsprung to hear more about the painting.
Yiadom-Boakye was born in 1977. And guess what? Pluto was in Libra from 1971 to 1983 (excluding a part of 1972 when it retrograded into Virgo for a hot minute)! As I mentioned in last month’s article, in evolutionary astrology, Pluto represents the structure of our soul. It is our actions and thoughts, strengths and weaknesses, all accumulated from our previous incarnations. Because Yiadom-Boakye’s soul is represented by Libra, her paintings can be seen as realizing the need to seek justice for the underrepresented and undervalued black body. Yiadom-Boakye wants to bring balance through social justice. This is what the ultimate Libra archetype strives towards.
Libra is the 7th sign of the zodiac, and the sun transits the Libra constellation from September 23 to October 22. Libras like to get everyone’s input before they make a decision because they are the sign of “we” as opposed to Aries, the sign of “me.” Libras want fairness most of all. They ask all involved their opinions and needs, and then think through the impact on the group. Once things are balanced in their minds, they make a decision that best fits everyone. Libras use their verbal dexterity and charm to cajole others into agreement so a calm resolution is achieved. If you aren’t being treated fairly, then Libra is the friend to call because they will use their diplomacy and tact to help you out. Libra wants equality so that peace can reign.
Yiadom-Boakye’s soul-need isn’t to prove herself or be seen for her own power, rather she strives to support equity and social justice through her work.
– Amy Domres, SAM’s Director of Admissions Amy is also a Psychospiritual Evolutionary Astrologer and Healer at Emerald City Astrology.
Every year Seattle Art Museum’s Community Gallery is dedicated to artwork by its staff and the eclectic outcome is a thing of true beauty—as colorful and strange as all the art lovers and artists that work here. This year, in a true testament to the volume of excellent work that was on view July 31 to September 1, not one but two talented SAM staff members were voted as faves by their peers. Ashley Mead, Assistant Registrar-Rights and Reproductions, and Natali Wiseman, Design Studio Manager, tied for our hearts this time around. Learn more about these two artists their obsessions with color, and their love for SAM’s Australian Aboriginal collection in this interview!
SAM: How does this work fit into your larger artmaking practice? Have you always worked in this medium?
Ashley Mead: It doesn’t? Or rather, because I’m inconsistent in my practice it totally fits with my larger artmaking practice. I just couldn’t tell you how. I’ve worked with paper for a few years and in collage for one year, and only because I agreed to do a portrait before I remembered that I can’t draw. Other than that, I dabble in just about every medium I can get my hands on—hence the inconsistency.
Natali Wiseman: I have always painted, but this is the first painting I’ve made in a few years. Previously I did a lot of really detailed illustrative painting, which completely broke me, so I took a long break. I wanted to try something a lot looser with less clean edges. Playing with dimensional paint was fun and new. For the last several years I have mostly been doing screen printing and collage, so it was nice to get back into painting.
What inspired the piece in the art show? Is there a story behind the work or is it part of a series?
Mead: It’s based on a photo of me, Ted, and Michael Besozzi taken at the Smith Tower on my birthday two years ago. We looked so good I wanted to know what we’d look like in paper—we’re definitely more colorful and less serious in this work than in the photo.
Wiseman: I have a 1960s craft book from my mom that has detailed instructions on making “chemical gardens”, also known as ammonia gardens (or sometimes you can buy them in kits, called “magic gardens”). The gardens are these melty piles of color, which I felt compelled to paint with overgrown fungal-looking flowers. There is something interesting to me about creating synthetic gardens.
What artists or artworks are inspirations to you in general?
Mead: Oh goodness. I’m a fan of color, that’s probably the biggest thing that draws me to a piece or artist. Specifics though, Van Gogh has always been a favorite. Mickalene Thomas is a more recent love. Oh, and I love our Australian Aboriginal collection. That’s just a short hodgepodge list.
Wiseman: This is hard! Color is a big deal for me. I love Sister Corita Kent’s work. I really like the Light and Space movement and color field painting. I also love Judy Chicago, Lynda Benglis, Richard Tuttle, Kenneth Noland, Jack Whitten, Gehard Richter, Wayne Thiebaud, Helen Frankenthaler, David Hockney . . . I suppose there could be a theme there. I love surrealism, particularly Rene Magritte, Man Ray, and Leonora Carrington. At SAM, I find the work in the Aboriginal Australian gallery to be very inspiring and meditative.
What other art projects are you working on right now or looking forward to?
Mead: All of them! I have about a half dozen commissions and half-million ideas, so good luck to me on figuring out what to focus on next.
Wiseman: More gardens, and I have some collages in the works. Hoping to do more large-scale screen printing, too. And I really want to get into ceramics!
– Chelsea Werner-Jatzke, SAM Content Strategist & Social Media Manager
Last week, SAM announced that the Asian Art Museum will reopen to the public on February 8 and 9 with two free 12-hour days of programming, reflecting the 12 themes of the dramatically reimagined collection. The Seattle Times broke the news.
“Cuban music is
often described as a tree, with various primary roots that supply life for many
branches. But separating the island’s music into distinct genres is an
inherently flawed task — they intertwine and cross.”
Are you ready for
DRAMA? SAM’s trailer for
the major fall exhibition is here in all its glory. Flesh and Blood: Italian Masterpieces from the Capodimonte Museum
opens October 17; both Seattle
Met and Seattle
Magazine recommend it.
forever. It’s been here since before my grandparents were born and will be here
for longer than my grandchildren. This bubble with outlast my life as a symbol
of how my own life is fleeting. Amongst all that oil paint!”
Reggie Ugwu of the New
York Times reports on last
week’s unveiling in Times Square of Kehinde Wiley’s bronze sculpture
Rumors of War, of a man and “the horse he rode in on, from a previous
century, perhaps, or was it a future one?”
she explains matter-of-factly. “He did not conform to any of the canonical
ideas about painting, about depictions, about points of view—he just misbehaved
and we’re all better for it.”
Here’s Artnet on a
weathered oil painting depicting Saint Jerome that turned
out to be by Anthony van Dyck. Art collector Albert B. Roberts
picked it up at an auction for $600; it’s now on view at the Albany Institute
of History & Art.
Megan O’Grady for the
New York Times Style Magazine on
Beverly Pepper, the sculptor whose Persephone Unbound and Perre’s
Ventaglio III grace the Olympic Sculpture Park.
“Public art can
sometimes feel ponderously corporate or impersonal, but the unroofed splendor
of Pepper’s site-specific works can prompt unexpectedly potent encounters . . .
They are framing devices for wonderment.”
Very early on in my role as one of SAM’s Emerging Arts Leader Interns, our mentor, David Rue, asked us to write down three personal or professional goals we wished to achieve during our time here at SAM. To be completely honest, I was all over the place during the first few weeks, as I was struggling to find where I fit into the museum to be a successful intern. Despite feeling this way, the one thing that I was certain and hopeful for was to make SAM a place I happily call home: be a part of SAM and SAM be a part me.
As a student at the University of Washington Bothell, being my whole self and feeling at home is what truly made me happier than I ever imagined. In order to feel that same happiness at SAM, I tried to be fully present by having a positive mind and heart. I reminded myself to be my bubbly and kind self and to be comfortable with the people around me. This was way easier said than done.
On top of feeling like a lost intern, I was already struggling with adjusting to a lifestyle that was the exact opposite of what I was used to. I wanted to be a big fish in a little pond that everyone looked up to for guidance. However, being in a new, urban city where nobody really knew me meant this wasn’t the case anymore. I felt lost between the Cat that grew up in California and the adult Cat that lives in Washington. Where would I go? Who am I supposed to be? With all these new changes and heavy feelings, I thought to myself, “I don’t how I’m going to achieve my goal or if I’m even going to get there. Good luck.”
Priya Frank and Seohee Kim are the two mentors I give all my gratitude to for guiding me through my struggles. Talking to them made me realize that I was still a tiny fish in a huge pond that needed to be willing to grow and learn from others. This was a reminder to be humble and to remember that learning and growing never stops, even when you think you’re at the top. Growing only starts when you are uncomfortable, yet willing to feel and embrace that discomfort with an open mind and heart to learn something new. Their kind words of wisdom touched my heart.
After this realization, I started to feel like I could reach my goal. The big project we had the opportunity to do was the My Favorite Things Tour. For this project, I researched different art pieces, connected them to real-life experiences, centered everything around a specific theme, and proudly presented my work to the public. Wow! I will always remember our first practice of walking around and talking about the different artworks we had in mind for our tours. I knew I was on the right track in connecting the art to my personal journeys, but there was much more research and practice that needed to be completed.
After this practice I was motivated to reach out to the curators to learn more about the different art pieces, which was exactly what I did. It was so inspiring getting to hear from and learn from the curators and see how passionate they are. I also learned more on my own by reading books about the artwork and artist. Most importantly, completing all the work would not even be half of what it was without my fellow colleague and friend Lauren Farris, the other Emerging Arts Leader Intern. Working closely with her gave us the space to learn from each other’s personal and professional experiences, all while sharing this internship together. I remember practicing our tours in the galleries, just talking through them while sitting down, and always changing our art pieces and stories every time we practiced. Being by each other’s side allowed us to be vulnerable and really push through to make these tours happen.
When the day finally came, we were there for each other to see all our hard work come to life. That is just so amazing to me because there were so many people and experiences collaborating to create something great. Swimming with the big fish was not so scary after all. As I said during my tour when I was talking about Childe Hassam’s Spring on West 78th Street, “from this painting and my experience with my SAM family, I learned that home is not a place, but a feeling.” Saying these words with my whole heart, showed me that I was able to reach my one and only goal, despite being so lost in everything else. This internship was more than I hoped for and now that it has come to a close I can truly say that I was a part of SAM and SAM will always be a part of me. SAM is a place I happily call home.
A new school year often welcomes crisp air, spiral notebooks, and pumpkin deliciousness. This school year brings one other exciting change: Seattle Art Museum school tours will now be free for all public schools at all SAM locations! Bus subsidies are also available for Title 1 schools. Offering free tours for public schools grew out of SAM’s mission and strategic plan to champion access and equity for all. The museum firmly believes every student deserves access to high-quality arts education and creative learning.
Even though the arts remain a required school subject by Washington State law, arts education is often one of the first programs to be cut. According to ArtsEd Washington, “In Washington State, 75% of elementary students receive only two hours, or less, of arts education each week.” Not only that, but Create Advantage Seattle notes, “Race, family income, and home language are all predictors of a students’ access to arts education in Seattle Public Schools.”
Research reveals that consistent arts education improves high school graduation rates, empathy, motivation to stay in school, critical thinking, voter turnout, and even raises math scores. Arts Impact says, “Arts-infused learning in reading and math eliminates the achievement gap between children of color and poverty and their white upper/middle-class peers.” Also, SAM’s Kayla Skinner Deputy Director for Education and Public Engagement, Regan Pro, strongly believes in furthering arts education. “Everyone talks about how they value things like creativity and innovation. If we are saying that but aren’t supporting arts in schools, then how do we expect those muscles to grow?”
tours at SAM start with a warm welcome from a trained docent or tour guide and a
teaching artist. The docent or tour guide leads the group into SAM’s galleries
where students and teachers might stare into the eyes of a giant mouse
sculpture, learn the history behind Kwakwaka’wakw house posts, or discover a
treasure chest lock in the Porcelain Room. With three locations and art from
all over the world, tours can complement and enhance any curriculum.
After the tour, SAM’s
teaching artists facilitate an art-making experience based on the works that
students just saw in the galleries. Students walk away holding their own work
of art, such as a three-dimensional sculpture, a two-point perspective
painting, or a self-designed family crest. Plus, teaching artists provide
students with an opportunity to view potential career paths in the arts.
“Being in the art museum was a new experience for many of my students. They were intrigued and, to my surprise, were able to connect with some artists. I feared they would find the museum too “high-brow,” but the variety of art allowed most to connect in some way.”
In addition to free school tours, SAM has continued to develop school partnerships. One of those partnerships, called “Drawing from Nature,” is now in its fourth year. Through this partnership, SAM offers all second graders in Highline School District a chance to explore the Olympic Sculpture Park. Building off these field trips, SAM provides lesson plans and professional development sessions to teachers. Furthermore, SAM is partnering with Seattle Public Schools on a new program at the Seattle Asian Art Museum when it reopens in early 2020. This partnership supports third through fifth-grade teachers as they build connections between art and social studies.
“This was an amazing experience and many of the themes were continued to talk about and apply in other subject areas.”
SAM’s Senior Manager of School & Educator Programs, Anna Allegro, says school partnerships provide students with a sense of ownership of SAM. “We’ll work with a school for five years, the kids will come every year, and they just have this sense of ownership and comfort. It’s so different from when they first walked in where SAM might have felt like an intimidating kind of space. Our goal is that students know they can be seen and heard here.”
With SAM’s partnerships and free school tours, the
museum is honored to support arts education and creative
learning for all young people whilst continuing the goal to promote equity and
access for all. As much as art museums play a role in advancing arts education,
this mission extends beyond our four walls to everyone in the community.
“Everyone can be an advocate for arts education. If you’re a parent, talk to your principal. Talk to your PSA. Ask them how they are supporting the arts. How is that a part of their classroom? If you’re a grandparent or if you live in a neighborhood, understand what the public school is in your neighborhood and how you can help support it.”
a dump: Crosscut’s Brangien
Davis visits the Recology CleanScapes recycling facility and meets its two
“Just as WALL-E
surfs the garbage heaps for treasures to take home — a bobblehead dog toy, a
golden trophy, a hinged ring box — artists in residence roam the space with an
eye out for intriguing items — a toy gun, a set of new knives, the detritus
from an entire bachelorette party.”
SAM Gallery artist Kellie Talbot travels across the country with her husband, cat, and duck, in a truck pulling her mobile studio, an Airstream trailer they named Mr. Salsa. Kellie Talbot’s America on view at SAM Gallery September 4–29, showcases some of her newest works. Talbot has established a national reputation for her oil paintings of the neon signs scattered across America. In the last two years, her family has driven 36,000 miles, through 29 states, in pursuit of source material for her paintings. She plans her route, knowing where certain signs are located, but is always open to possibilities and unexpected opportunities. Some of her favorite signs and memories come from happening upon them. One unexpected ice storm led them to Vaughn, NM (population 446), where Talbot found one neon sign after another. She was out in the snow, climbing on her Airstream trailer to get photographs for future paintings. When she’s traveling the country, Talbot says “I photograph almost every sign I come across because when I am in collecting mode I don’t want to pass up any potential. Sometimes it’s more obvious. Some of those obvious ones have an iconic shape or beautiful neon that just demands to be painted.”
Once Talbot returns to her studio in Seattle or New Orleans, she relies on reference photos from her trip, to paint photorealist paintings of the signs that represent the landscape of American artifacts, craftsmanship, and history. Talbot describes how “once I am in my studio I spend a lot of time with my reference material planning out a body of work. I like to have a balance of close-ups mixed with landscapes. I like there to be a push and pull of sorts. Some signs are small but I paint them big while others I can enlarge just portions. Almost every sign has the potential to be painted. I just have to find the aspect of that sign I want to paint.” Talbot is often drawn to a particular letter or shadows from a sign. Focusing on a smaller portion of the sign allows the viewer to enjoy the shapes, shadows, and colors in a new way. Talbot intentionally includes the rust and decay in the neon signs she paints. These details aren’t negatives to the artist, they are signs of time and experience, both an elegy and a hope.