All posts in “Events & Programs”

Cat Vallejo: Emerging Arts Leader Look at SAM

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.

Cat Vallejo, SAM 2019 Emerging Arts Intern

Photos: Natali Wiseman
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SAM Connects Students to Art for Free

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?”

Typically, school 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.”

– Educator

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.”

– Educator

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.”

– Regan Pro

Learn more and book a free school tour at SAM before they fill up!

– Lauren Farris, SAM’s 2019 Emerging Arts Leader Intern

Photos: Robert Wade
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Gardner Center goes down the Silk Roads of History

What is it about Silk Roads history and art that interests so many people? In the late 19th century, German geographer Ferdinand von Richthofen coined the term ‘Silk Road’ or ‘Silk Routes’ as part of his map-making efforts. After all, better maps of travel routes had commercial value for access to coal or building railroads, for instance. In the early 20th century, several spectacular “discoveries” (ie, new to the West) of magnificent troves of art and manuscripts in Central Asia and western China fueled the fascination.

Courtesy of the Dunhuang Academy, photo: Wu Jian. 

Now the plural ‘Silk Roads’ is used to better describe the many complex historic trade routes through the Eurasian continent. The idea of commercial exchange across a continent that involved interactions of many cultures, languages, religions, and arts can be such an appealing picture of cosmopolitan societies—in contrast to present-day tensions at home and abroad. “Silk Road nostalgia” refers to interpreting this history in the imagination as a time of tolerance and international understanding as well as prosperity, rooted in hope for peaceful and respectful global exchange in future.

The Jewel of Muscat, a reconstructed replica of a ninth century Omani trading ship, sails into the harbour of Galle, 116 km (72 miles) south of the Sri Lankan capital Colombo, on April 19, 2010. The ship, built in a traditional design without nails and sewn together with coconut fibers, left Oman on February 15 to re-enact the old trade routes used by Arab traders, with its final port of call in Singapore, according to the organizers of the voyage. AFP PHOTO/ Lakruwan WANNIARACHCHI. (Photo credit should read LAKRUWAN WANNIARACHCHI/AFP/Getty Images)

The fall Saturday University Lecture Series, Silk Roads Past and Present: From Ancient Afghan Treasure to China’s Belt and Road Initiative, presents current understandings in seven lectures. Beginning with a talk on the Begram Hoard excavated in Afghanistan, we consider how these storerooms from the first century CE could contain Roman glass, Chinese lacquer, and extraordinarily carved ivories from India. A talk on Maritime Silk Roads explores the shipping that actually transported more goods than overland routes, despite the persistent image of camel caravans.

Bodhisattva leading a lady to the Pure Land (detail), Chinese, Tang dynasty, c. 851–900 CE, Hanging scroll, Ink and colors on silk, Height: 80.5 centimetres, Width: 53.8 centimetres, ©️Trustees of the British Museum. 

The Silk Roads also saw the spread of Buddhism, and two speakers explore Buddhist art in China. Two lesser-known religions are introduced in a talk on Zoroastrian and Manichaean arts. And what about silk? Find out about silk and fashion in Tang Dynasty China, as trade made new textile technologies, colors, and patterns available.  The series concludes with a talk on China’s current international initiative also referred to as the New Silk Road. Please join us!

– Sarah Loudon, Director, Gardner Center for Asian Art and Ideas

Image: Mogao Cave 237. Image courtesy of the Dunhuang Academy, photo: Zhang Weiwen. 
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Muse/News: Muholi recommended, radical love, and a new look at Basquiat

SAM News

Aesthetica makes five recommendations from around the world to see, including Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness at SAM.

Seattle Magazine is out with their list of the “21 Best Things To Do in Seattle in August 2019.” Remix at the Olympic Sculpture Park makes the cut.

Local News

The Seattle jazz scene has two sad losses to report: the closure of legendary club Tula’s at the end of September, and the retirement of Clarence Acox, Garfield High School’s jazz band director.

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 Big Art Weekend wouldn’t be complete without the incredible satellite events; here’s Gayle Clemans for the Seattle Times on the free festival:festival, which also took place over the weekend (SAM’s David Rue is one of the curators!).

“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.’”

Inter/National News

Baltimore is great city full of great people. And now this! Artnet reports that the Baltimore Museum of Art will dedicate “a year’s worth of exhibitions dedicated to female-identifying artists throughout 2020.”

“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.

The New York Times has a fascinating look Basquiat’s ‘Defacement’: The Untold Story at the Guggenheim; curated by Chaédria LaBouvier, the show centers on a painting that depicts the tragic death of a young Black artist.

‘”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.’”

And Finally

Evergreen story.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, Seattle Art Museum, 2019, photo: Natali Wiseman.

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Muse/News: Muholi’s gaze, disco photographs, and Space Age fashion

SAM News

Crosscut’s Brangien Davis reviews Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, saying the self-portraits “stare right back at you—and, unlike you, they don’t blink.”

“Throughout it all Muholi looks straight at us with those unflinching, wide-open eyes. ‘Yes?’ they seem to say. And also: ‘I see what you see when you see me.’”

Rainy Julys mean MOVIES. Have you been to our new film series, Comedy Gold from the American Cinema? Check out films every Thursday night recommended by Seattle Magazine and The Stranger, now through August 15.

Local News

The Stranger’s Dave Segal on the Nordic Museum’s exhibition of photography by Hasse Persson, who captured some of the most important political and cultural moments in America from 1968-1980—including shenanigans at Studio 54.

The Seattle Times’ Moira Macdonald goes to camp, checking out the Met’s latest fashion exhibition—and finding some resonances in MOHAI’s current show of Northwest style.

Farewell 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 legacy.’”

Inter/National News

Pictures worth a thousand (and more) frames: here’s Artsy on six films inspired by famous photographs.

Farewell to Philip G. Freelon, who was “arguably the most significant African-American architect in recent history.” He died recently at the age of 66.

Space seems to be on everyone’s mind. Enter the Brooklyn Museum, with their new retrospective Pierre Cardin: Future Fashion, full of his “youth-fueled modernism” aesthetic.

“They were garments that projected utility but were irresistibly sleek and sexily alienish; clinically pristine, yet sinuous—all the appeal of an Eero Saarinen Tulip chair, but made for the body.”

And Finally

So the trailer for CATS happened. The Internet had some feelings.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, Seattle Art Museum, 2019, photo: Natali Wiseman.
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Muse/News: Muholi arrives, an unlovable tree, and monuments to rad Women

SAM News

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is now on view at SAM, and it’s not to be missed. Here’s Elena Martinique for Widewalls and Victoria Valentine of Culture Type on the South African visual activist’s work.

Jasmyne Keimig of the Stranger offered this sneak peek; keep an eye out for her feature story on the show.

Outside suggests “11 Alternatives to Crowded Outdoor Instagram Spots,” with the sculpture park handily beating the gum wall.

Give a read to Casey Arguelles Gregory of The Eye’s post about what we do with problematic art; Claire Partington: Taking Tea at SAM is given as an example of how to respond.

“[The installation] creates a stunning dialogue between the historical ‘porcelain room’ and our modern attempt to reckon with the colonialism and institutional racism that necessitated the creation of these beautiful objects.”

Local News

The Stranger doesn’t like our city flag. They’re throwing a design contest for a new one (non-binding). (SAM tickets are among the prizes!)

Crosscut’s Brangien Davis on Beili Liu’s new show at MadArt, which addresses the global refugee crisis with clothing frozen in place by cement.

The Denny Substation has a sculpture called Transforest—apparently the tallest public art in the City—that the Stranger’s Jasmyne Keimig calls “unlovable.”

“Obviously, Transforest can’t capture certain things about trees—their smell, the sound of leaves rustling in the wind, their sense of knowing. But as I stood underneath it, sweating under all that sun, trying to figure out this sculpture, I realized I was missing something simple, easily capture-able about trees—their shade.”

Inter/National News

Artforum reports on the ongoing controversy involving the proposed destruction of a mural at San Francisco’s George Washington High School; now 400 academics, writers, and artists have written an open letter opposing the plan.

Elsewhere in school murals: Dr. Maya Angelou is celebrated in over two dozen eye-catching murals throughout the campus of the Dr. Maya Angelou Community High School.

And elsewhere in rad women monuments: Zachary Small of Hyperallergic reports on the proposed monument on Roosevelt Island to the groundbreaking journalist Nellie Bly.

“Almost 132 years later, the intrepid reporter will return to the scene of the story that made her a hailed heroine of journalism as a permanent monument.”

And Finally

If you are not always eager to learn more about Bob Ross, then I just don’t know what to tell you.

– Rachel Eggers, SAM Manager of Public Relations

Photo: Installation view Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness at Seattle Art Museum, 2019, photo: Natali Wiseman.
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Muse/News: Victorian extra-ness, tree art, and what happens when artists curate

SAM News

Crosscut’s Brangien Davis recommends that you “judge for yourself … and consider just what makes art radical” in her write-up of Victorian Radicals.

And GRAY Magazine’s Rachel Gallaher chats with curator Chiyo Ishikawa about the exhibition on “what’s so radical” about it.

“Rich in saturated color and minute detail, the works sit in bold contrast to the zeitgeisty minimalism and pastel palettes of the past few years. It’s a rather refreshing aesthetic twist, and a veritable feast for the eyes.”

Watch Evening Magazine’s thoughtful story on Hear & Now, featuring interviews with artist Trimpin, poet Pam Winter, and Path with Art director Holly Jacobson.

Comedy Gold from the American Cinema kicks off this week; with classics like The Thin Man and The Awful Truth it’s no wonder the series is included on Seattle Magazine’s list of “21 Best Things to Do in Seattle in July 2019” and is one of the Seattle Times’ “hottest Seattle events for July 2019.”

Congrats! SAM trustee Charles Wright has been named Middle Market Family Business Executive of the Year by the Puget Sound Business Journal. 

Local News

Crosscut’s Agueda Pacheco Flores (just named New Journalist of the Year by the Society of Professional Journalists [Western Washington]!) visits The Beacon, Columbia City’s new single-screen cinema.

The Stranger’s Rich Smith wrote about Seattle’s newest “pretty dreamy” dance company, Seattle Dance Collective; their first show, Program One, premieres at Vashon Center for the Arts this weekend.

An SOS, a lofty reminder, a memento mori: Crosscut’s Brangien Davis visits Ted Youngs’ new Smoke Season installation and looks at some other trees in art, including John Grade’s Middle Fork at SAM and the Neukom Vivarium at the Olympic Sculpture Park.

“They peer up at the tree, which stands parallel to the Space Needle — one conceived as a beacon of humanity’s bright future, the other an urgent message from the here and now.”

Inter/National News

You love to see it: As part of NPR Music’s exploration of the Seattle music scene, they look at “11 Visual Artists Creating The Look Of Seattle Music.” 

Who knew this was such a rich genre? Artnet’s Caroline Goldstein brings you the “Finest Artistic Depictions of Totally Wasted People Ever.”

The New York Times’ Roberta Smith on Artistic License at the Guggenheim, a show curated by six artists—one for each of the ramps of the museum’s rotunda.  

“Artists look at a collection more freely and greedily than most of us, from odd angles. They often ferret out neglected or eccentric treasures, highlighting what museums have but aren’t using; they can also reveal a collection’s weaknesses, its biases and blind spots.”

And Finally

A world of cages.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view “Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement” at Seattle Art Museum, 2019, photo: Natali Wiseman.

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SAM Connects to the Hear & Now

We believe art is for everyone and right now everyone can experience a new kinetic sound sculpture installed at SAM’s 1st and Union entrance. Playing music, projecting poetry, and covered in the text, drawings, and collage by artists with lived experiences of homeless, Hear & Now is a collaboration between internationally celebrated artist, composer, and musician Trimpin and Path with Art students presented for you to view for free!

Built from an antique hand-pulled wagon originally built by Trimpin’s father in Germany, the work is activated by pressing the play button situated next to the object. Each tap triggers a different musical composition or poem created in collaboration with teaching artists. Hear & Now is free and accessible to all and will be on view through July 15. Visit the entire museum for free on Thursday, June 6, and catch the Hear & Now Performances and Artist Talkback taking place 6–8:30 pm featuring pop-up performances by the student artists, a movement piece directed by Rachel Brumer and Monique Holt accompanied by the musical compositions played by the sculpture, and a chance to hear from Trimpin.

Get primed for Thursday evening with this interview with Trimpin and a Path with Art student artist.

SAM: How did you start working with Path with Art?

Trimpin: Five years ago, I was Composer in Residence with the Seattle Symphony Orchestra. The last year of the three-year residency involves a public-outreach workshop. I decided to work with a group of Path with Art student artists. I was first introduced to Path with Art at a performance at the Hugo House; I was impressed with the artistic caliber of all the performing artists.

Tyler Marcil: Jennifer Lobsenz, the Program Director at the time, asked me to participate in this project in the summer of 2017. We worked with Christina Orbe for six weeks and Yonnas Getahun for two weeks over the course of eight workshops at Trimpin’s studio.

During these workshops, we created found poetry – I had never done anything quite like that before. I took a story that I had already written called, “The Woman on the Sidewalk,” and pulled words from that story to create new poems for the sculpture. A year later, I was invited to record work for Path with Art at Jack Straw Cultural Center.

What is the significance of the wagon wheel as a foundation for the sculpture? How does it relate to experiences of homelessness?

Trimpin: When I was beginning to conceptualize the interdisciplinary workshop, mobility and transition was a major consideration. Aware that most homeless people are in continual transition, the wagon-wheel was a starting platform to build up the story, not just metaphorically, but literally as a sound object which is mobile. It is similar to the way the wagon was used in my family to haul a variety of items around, and I still remember watching my father when he was building the wagon from scratch.

How did the artists collaborate on the creation of the final sculpture?

Tyler: The first group to meet was our group—the poets. The visual artists then took the found poems we created, turning these magnificent words into different pieces of art. Then the musicians came and made compositions inspired by the language and the artwork.

Hear & Now allowed many people to contribute their skills to this larger project. The people who were involved all have different ways of expressing themselves. Through this project, their voices are heard, and they are able to speak from their soul through their medium. Without this opportunity, they might feel silenced—without a voice, or without their voices being heard.   

Can you share a moment of discovery or breakthrough in the process that left an impression on you? Why did that moment stand out to you?

Trimpin: Artists in general are not collaborating with other artists very often. A part of the workshop was to teach each student that we don’t have to compete with each other; and we actually can work together and contribute each individual’s expertise to make the project successful. This process was very important to me and the project would not exist without the great commitment and interaction of each individual student.

Tyler: I don’t like hearing my own voice. When we were recording our stories at Jack Straw I could feel my heart racing because it’s a voice that my mother created by teaching us to speak a certain way. I could hear the –eds and the –ings. Those were important in my household growing up.

When I was forced that day to listen to my voice I cried inside because I realized—my voice is beautiful. And had I known that it was beautiful, I would have listened all along. And now when I ask people, what is it about my stories or poetry that you like? They tell me, it’s your voice.

What do you hope the sculpture can inspire in a viewer?

Trimpin: My hope is that the viewer can hear and see that a group of Path with Art student artists—adults—who have lived the experience of homelessness, addiction or other trauma, have earned the ability, knowledge, and imagination to collaborate, design, write, and compose and to achieve a project at this high artistic level.

Tyler: I hope that Hear & Now will bring awareness of people who have lived experience of homelessness. That the person living that experience could be you. We shouldn’t allow ourselves to be prejudiced, or disown others as though they don’t exist.

And I think by having a sculpture that shares these wonderful voices, not only are you hearing their voices, but your hearing that they’re a person. The voice you hear is coming from them, from their humanity.

How does the upcoming performance connect to the sculpture?

Trimpin: For the upcoming performance, the students are performing live, interacting with the instrumentation of the wagon with their own voice or instrument.

Tyler: It ties together these themes of voicelessness and visibility for those experiencing homelessness. It connects to the sculpture because it’s using American Sign Language to present stories for those who cannot hear or speak, and ties in this concept communicating in different ways—with our voices, but also with our hands. This whole project is about lifting up those who have so often been silenced, and widening our circles of empathy and understanding, and the performance brings together both people with lived experience, and those without while exploring these themes.

– Chelsea Werner-Jatzke, SAM Content Strategist & Social Media Manager

Images: Installation view Hear & Now at Seattle Art Museum, 2019, photos: Natali Wiseman.
Path with Art would like to extend a special thank you to Seattle Department of Neighborhoods for making this project possible.
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Muse/News: Unplugged Studios, a home for Black art, and Subway Dogs

SAM News

SAM’s upcoming major exhibition, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement, makes Seattle Met’s list of “10 Seattle Events to Catch This June.”

Colossal features the human + animals ceramic vessels of Claire Partington, whose work also has set up shop in SAM’s beloved Porcelain Room.

Watch this Art21 short video featuring Zanele Muholi and their “unplugged” studio practice of self-portraits and portraiture; Muholi’s work comes to SAM on July 10.

Local News

Stefan Milne of Seattle Met on poet Jane Wong, whose James W. Ray Distinguished Artist-exhibition at the Frye—exploring food, silence, and ghosts–opens tomorrow.

The Stranger’s Jasmyne Keimig goes up, up, up, to the 73rd floor of the Columbia Center to see The Factory’s latest show, work by 17 queer artists including Anthony White, Clyde Petersen, Markel Uriu, and more.

Lisa Edge of Real Change visits the Central District’s new Black arts space, Wa Na Wari, created by Jill Freidberg, Elisheba Johnson, Rachel Kessler, and Inye Wokoma. Also: the collective is curating the Summer at SAM kickoff.

“They always say ‘this is so great’ or ‘this is so wonderful,’” Johnson shared. “The first couple times it happened I said ‘you haven’t seen anything yet.’ They say ‘no, this is here.’ It’s just something about being able to walk into a space and know that it’s a cultural center for Black people that feels embodied as soon as you go through the entryway.”

Inter/National News

A Seattle man examined photographs he’d purchased 50 years ago at a Philadelphia secondhand store—only to discover they were by Weegee, the legendary crime photographer. Here’s other weird places art has been found.

Artnet’s Taylor Defoe continues to follow up on the recent incident at the Boston Museum of Fine Arts, in which a group of students of color were harassed by staff and other visitors.

The New York Times’ Holland Cotter looks at several shows in the city held this Pride Month in honor of the half-century Stonewall anniversary.

“For many reasons, protest is a logical direction for art right now. There is still no federal law prohibiting discrimination against L.G.B.T.Q.+ people on the basis of sexual orientation or gender identity (although some states and cities have enacted laws prohibiting it). Trans women continue to be victims of violence. The rate of new H.I.V./AIDS transmission among gay black men remains high. And the impulse within the gay mainstream to accommodate and assimilate is by now deeply ingrained. The time has come to hear Sylvia Rivera calling us out again.”

And Finally

As a person who has taken IKEA desks and Christmas trees on Seattle buses, I am here for this.

– Rachel Eggers, SAM Manager of Public Relations

Image: Saint George Slaying the Dragon, 1872; designed ca. 1862, Dante Gabriel Rossetti, British, 1828–1882, stained, painted, and leaded glass, 37 3/8 × 28 7/8 in., Lent by Birmingham Museums Trust on behalf of Birmingham City Council, Purchased, 1972M79, © Birmingham Museums Trust, Courtesy American Federation of Arts
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