All posts in “Exhibitions”

Amy Sherald’s Archetypes: In This Imperfect Present Moment

Unless you’re looking at this image on a gigantic screen with perfect resolution, you’re missing the impact of this Saint Woman. She’s slightly larger than life, which fits the premise of the artist who elevates her subjects to a status that goes beyond our normal vision. Amy Sherald paints portraits that are not trying to convince you they are a substitute for the actual person. Instead, she paints archetypes. She is taking the time to change our minds about what a portrait can be, an evocation of a saint whose name you do not know, but who is standing and waiting for you to recognize them.

This saint is surrounded by a halo of what may appear as bright yellow on your screen. If you’re just seeing a flat expanse of color, you’re missing the depth of a painted surface that is full of nuance, with swirling dimensions that activate this setting. The same nuances of color are true of the skin, which is in variations of gray. Amy Sherald chose this color shift for a reason, “to exclude the idea of color as race.” She also has this woman’s body face forward, while her head is turned in profile. What captures her attention is unknown, and it challenges you to wonder why she’s holding herself so still while her dress is blown in a breeze of urgency. It’s the stance of a saint who’s worth coming to see in person. Visit her with a trip to see In This Imperfect Present Moment, and installation of artworks by 15 artists conveying vibrant narratives that resonate across global boundaries.

– Pam McClusky, SAM’s Curator of African and Oceanic Art

Images: Saint Woman, 2015, Amy Sherald, American, b. 1973, Oil on canvas, 54 x 43 in., Private collection, photo courtesy the artist and Monique Meloche Gallery, Chicago. Installation view of In This Imperfect Present Moment at Seattle Art Museum. 2018, photo: Natali Wiseman.
Share

New Topographics: Instantly (in)Famous

When viewing New Topographics, you’ll want to lean in and look closely—on close inspection you discover the dead-pan humor as well as the disquiet in seeing the land sliced up and rapidly developed in this group of photography.

This new installation at SAM brings together a group of photographers who became widely known through a 1975 exhibition at the George Eastman House. What made all the work instantly (in)famous was that the artists turned their back on celebrated landscape imagery.

Landscape as wild and tempestuous (think Bierstadt) or picturesque was set aside. Instead, artists such as Robert Adams, Lewis Baltz, Joe Deal, Frank Gohlke, Stephen Shore, and others trained their cameras on new housing developments that turned farmland into suburbia, or looked at the topography of cities.

In addition to the new subject of man-altered landscape, the photographers also created a new aesthetic: Modern photography had become known for stark black and white contrast and dramatic perspectives, while the New Topographics photographers had a decidedly quiet and descriptive approach.

A lone beer bottle here, wires and hookups there, are anything but grand but then the piles of dirt come with glamorous titles such as Prospector Park.

In addition to some of the artists who were featured in the original 1975 show, included are artworks that are related and expand this vision into other directions. Thus you will find Mark Tobey’s early painting, Middle West, in an entirely new context. You will also discover several of the great artist books by Ed Ruscha—whose work was very influential to this new generation. Last not least, you will find several of Howard Kottler’s “souvenir plates” that are adorned with birds-eye views of downtown Seattle. (Watch out for his dead-pan humor.)

While you’re visiting, sit down with photocopies of the original New Topographics catalogue and text as well as Robert Smithson’s groundbreaking and fabulously written essay: “A Tour of the Monuments of Passaic, New Jersey.”

The rapid transformation of the urban and suburban areas of Seattle by new development right now provide a new context for the work of these artists. See New Topographics on view through the end of the year.

– Catharina Manchanda, Jon and Mary Shirely Curator of Modern and Contemporary Art

Images: Installation view of New Topographics at Seattle Art Museum, 2018, photos: Stephanie Fink
Share

Muse/News: A brilliant show, subversive sculpture, and the future of art

SAM News

Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson was highlighted by AFAR Magazine as one of “10 Brilliant U.S. Art Exhibitions Worth Traveling for This Summer.”

And our curator, Barbara Brotherton, was interviewed about the exhibition for a story in London-based Huck Magazine.

“’The work of these artists stands in sharp juxtaposition to the elegant Curtis photographs with their romanticized approach that casts Native people in the past,’ Brotherton concludes. ‘Native people did not vanish. They are resilient and deeply engaged in the issues of identity today.’”

Lots of love for SAM and the Olympic Sculpture Park: Both are recommended in the Stranger’s 2018 Visitor Guide on their list of “Best Places to See Art.” Condé Nast Traveler features SAM as one of their “Best Things to Do in Seattle” on their newly revived site, and Dwell Magazine kick off their list of “Top 8 Outdoor Sculpture Parks” with the Olympic Sculpture Park.

Local News

“’Painters Who [Expletive] Know How to Paint’ is not a shy title for an exhibition.” Darn right, Gayle Clemans. Here’s her Seattle Times review of the “vigorous” show now on view at Center on Contemporary Art (CoCA).

Crosscut’s Michael Upchurch reviews Castoffs, now on view at the Henry, calling Martha Friedman’s deconstructed sculptures of dancer Silas Riener’s body “mischievously subversive.”

The July edition of City Arts is out! It’s the Interview Issue; don’t miss the cover story featuring a conversation between Ijeoma Oluo and Emmett Montgomery.

“Freedom and progress look like something I can’t even envision yet. And I think art is very similar—the future of art doesn’t look like anything you see right now. That’s maybe the next five minutes of art.”

Inter/National News

I say, more Beyoncé videos. But seriously: Alina Cohen of Artsy takes a look at the challenges museums face in this article, “How Art Museums Can Remain Relevant in the 21st Century.”

Check out the University of North Carolina’s “Archivist in a Backpack” project that seeks to “make archive creation more accessible by offering resources that can easily launch community partners on memory projects.”

Remember when the Baltimore Museum of Art announced they’d sell big-name artworks to fund purchases of contemporary art by women and artists of color? Don’t you want to know what they bought??

“’You can’t stop now,’” Bedford says. ‘You have to acknowledge that you will never, at least in our lifetime, get to true equity within the museum. But I think there is virtue in continuing to push for it relentlessly.’”

And Finally

A doozy of a Long Read: Thomas Chatterton Williams on Adrian Piper for The New York Times Magazine.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view of Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson, 2018, installed at Seattle Art Museum, 2018, photo: Natali Wiseman.
Share

Muse/News: A prescription for art, life-changing DJs, and an epic visit to the Louvre

SAM News

The Seattle Times explores “why art is becoming part of doctors’ education at Virginia Mason in Seattle” with a recent front page feature. The Art & Medicine program at SAM uses art education techniques to teach medical residents skills like visual literacy, empathy, and self-care.

The Stranger’s Charles Mudede visits the Lessons from the Institute of Empathy installation, finding connections to the blockbuster film Black Panther and to Afrofuturism.

“These African masks, African jewelry, African clothes—made to be worn by fictional figures who run a fictional institute that deals with things like Empathy Deficit Disorder, and made to exist in real and virtual spaces—now have, for young and old Americans, a mainstream point of reference.”

Priya Frank, SAM’s Associate Director for Community Programs and co-chair of the museum’s Equity Team, shares her reflections for the NAEA’s Museum Education blog on the work of centering racial equity and creating an institutional culture shift. Priya was also a recent guest on the No Blueprint podcast and profiled in profiled in UW’s alumni magazine Columns.

Local News

Don’t miss this incredible story in the Seattle Times—a collaboration among writer Jerry Large, photographer Bettina Hansen, and videographer Corinne Chin—about a Seattle attorney’s collection of “some ugly, some inspiring” historical artifacts.

To know Riz is to love him: The Stranger’s Charles Mudede with a beautiful and convincing piece for their Queer Issue on “how DJ Riz Rollins changed Seattle.”

I can’t believe it’s almost July. Seattle Magazine has great picks for cultural happenings next month, including an upcoming show at the Henry featuring Figuring History artist Mickalene Thomas as photographer, designer, and curator.

Inter/National News

The New York Times’ Roberta Smith reviews the Met’s exhibition History Refused to Die (great name!); it features work from the Souls Grown Deep Foundation, whose focus is self-taught Black artists of the American South.

Hyperallergic’s John Yau takes a look at The Morgan Library & Museum’s show of Wayne Thiebaud’s works on paper.

“I may need to lie down.” Yes, the art world and everyone else recently went—well, you know—when Beyoncé and Jay-Z released a new joint album and a video shot at the Louvre. Artnet has a good round-up on the mania.

And Finally

The art historical and cultural resonances of APES**T will live forever—but this is the reaction I laugh about DAILY.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Lessons from the Institute of Empathy, Seattle Art Museum, 2018, photo: Natali Wiseman.
Share

A Commingling of Minds in Sondra Perry’s Installation

With her current installation at SAM, the 2017 Gwendolyn Knight | Jacob Lawrence Prize winner, Sondra Perry asks, “What happens if we go to a place that we want to create as a habitable place for full life on earth but we don’t know what life looks like there?” Combining 3D rendering, terraforming, family, and the desire to bring people together inside the gallery, Perry’s work gives a machine its voice while creating a cosmic commingling of minds. See Eclogue for [in]HABITABILITY at SAM before it closes July 8!

Share

Memorializing Trans Lives in Project 42 at SAM

At the center of Project 42: Jono Vaughan stands an elaborate dress with a 25-foot-long train hanging down from the ceiling. Created for the 2017 Betty Bowen Award winner installation at SAM, it is one of artist Jono Vaughan’s most ambitious pieces in the series that will eventually include 42 garments memorializing murdered trans individuals.

Seattle-based artist Jono Vaughan made this particular garment in collaboration with Lesley Dill in memory of Lorena Escalera Xtravaganza. Created using a vintage victorian form for a bustle, the train is covered in a reorganized poem by Emily Dickinson. Lesley Dill selected “The Soul Has Bandaged Moments” and stenciled it by hand as she rearranged the text and broke stanzas.

“Lesley was an inspiration to me and to Project 42,” says Jono Vaughan. “As a docent at the the Orlando Museum of Art I toured a dress of Lesley’s and it left a big impact on me. As a printer, it’s my job to replicate the hand of the artist who intentionally hand-stenciled the text, rather than digitally reproducing it.” Look closely and you’ll see the pen strokes of Lesley Dill’s process. What you won’t see when you visit, is the embroidery on the interior of the garment that Jono has created just for Lorena that is meant to convey her inner life and extravagance.

Lesley Dill says that she works with Emily Dickinson’s text often because “Dickinson’s writing is the door I walked through to become an artist.” After reciting a stanza of this specific poem over the phone she continues to explain: “It’s a gothic poem and speaks of a poetic persona whose identity is haunted and exhilarated. A large part of the entire Project 42 is about the vivacity of life and bandages of the soul. I feel that Lorena and the project are deserving of intensity and multiple layers of meaning.”

Formatted on the train of the garment in the gallery the poem is difficult to read so we’re sharing it here for you.

The Soul Has Bandaged Moments

The Soul has Bandaged moments –
When too appalled to stir –
She feels some ghastly Fright come up
And stop to look at her –
Salute her, with long fingers –
Caress her freezing hair –
Sip, Goblin, from the very lips
The Lover – hovered – o’er –
Unworthy, that a thought so mean
Accost a Theme – so – fair –
The soul has moments of escape –
When bursting all the doors –
She dances like a Bomb, abroad,
And swings opon the Hours,
As do the Bee – delirious borne –
Long Dungeoned from his Rose –
Touch Liberty – then know no more –
But Noon, and Paradise
The Soul’s retaken moments –
When, Felon led along,
With shackles on the plumed feet,
And staples, in the song,
The Horror welcomes her, again,
These, are not brayed of Tongue –
– Emily Dickinson [1]
A large part of Jono’s collaborative process involves asking her collaborators to research the individual being memorialized. The process left Lesley Dill reflecting that “Lorena Xtravaganza was trying to find and name her true self in a world that had no room for this search. Her murder is a catastrophe of culture. Jono is giving us a chance to memorialize individuals who wanted to simply exist inside of their nature. When our culture murders trans people, I feel our belief in human goodness is wounded. With Jono’s work we are given new faith, we are reinvesting in faith.”

Find your faith renewed in humanity with a visit to Project 42. If you are looking for another reason to come, the garment created for Lorena Escalera Xtravaganza includes an interactive element where visitors are invited to tie fabric flowers to the train. Visit often if you hope to catch one of the unannounced performances that will take place in the galleries.

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

[1] Emily Dickinson, “[The soul has bandaged moments]” from The Poems of Emily Dickinson: Variorum Edition. Copyright © 1998 by Emily Dickinson.  Reprinted by permission of The Belknap Press of Harvard University Press.
Images: Installation view of Project 42: Jono Vaughan at Seattle Art Museum, 2018, photo: Natali Wiseman.
Share

Greetings from the Institute of Empathy

The Institute is glad to announce that their installation of lessons is on view at Seattle Art Museum. Three Empathics now oversee the production of  transformative vapors and invite you to sit with them in Lessons from the Institute of Empathy in the Seattle Art Museum’s African Art galleries, to invigorate your mental clarity.

Better yet, you are also invited to step into their restorative pool and partake of a mosaic shower from above. A 10 minute power point given by a representative from the Institute, Aurelia Wallace, is also available to explain the lessons on view.

The Institute wants to thank everyone who sticks their necks out to facilitate their work, and suggested a poem full of empathy to honor their efforts.

– Pam McClusky, Curator of African and Oceanic Art

Images: Installation view Lessons from the Institute of Empathy, 2018, Seattle Art Museum, photos: Natali Wiseman
Share

Muse/News: Basquiat on Film, Poetry on the Radio, and the Digital Hereafter

SAM News

The New York Times’ Glenn Kenny reviews Sara Driver’s new documentary on the young Basquiat. Boom for Real premieres at the Seattle Art Museum on May 18 in partnership with Northwest Film Forum.

“Basquiat’s art — raw, inventive, socially engaged — continues to speak to us even as the artist himself cannot. Near the end of the movie, one of Basquiat’s friends refers to him as ‘a true investigator.’ In Ms. Driver, the artist finds a kindred spirit, a fellow investigator who pays him proper and enthralling tribute.”

Jeffrey Gibson: Like a Hammer opened at the Denver Art Museum on Sunday; Cultured Magazine visits the artist’s studio to discuss his artistic goals and methods. Save the date: the exhibition opens at SAM on February 28, 2019.

“’It’s always been about using my personal narrative to complicate the popular notions of being queer, being gay, being Native American—any of these singular adjectives,’ says Gibson.”

Local News

The Seattle Times’ Moira Macdonald previews this year’s edition of the Seattle International Film Festival—and shares the colorful, analog way the massive schedule is built.

Seattle radio is beautiful this week: KEXP announces OCnotes as their new Sunday night DJ, playing soul, funk, and R&B, and KUOW launches #NewsPoet, which features PNW poets waxing about a news story.

The Station coffee shop on Beacon Hill has new digs, and in their old space across the street will be Estelita’s Library, a “justice-focused community bookstore and library” from UW professor Edwin Lindo.

“’You’ll find books on Latinx identity next to a book about Harriet Tubman, next to Karl Marx, next to a first edition John Steinbeck,’ he says, gesturing toward a packed shelf. Though some of the titles have Dewey Decimal stickers (‘They’re really hard to remove!’ he marvels), the books aren’t arranged in any particular order. Lindo hopes instead that people will make discoveries by proximity, or perhaps by suggestion from someone sitting at the next table.”

Inter/National News

Lessons From the Institute of Empathy artist Jacolby Satterwhite has a solo show at NYC’s Gavin Brown’s Enterprise; Blessed Avenue is a “mythical place created by the fantasies of cyborgs — possibly a digital hereafter.”

Artnet on a new grad program created by LACMA and Arizona State University that allows students to pursue studies while working at the museum—its purpose is to increase diversity in museum leadership, especially curation.

Donald Glover, AKA Childish Gambino, debuted the video “This is America” and everyone watched it (and watched it…); Interview Magazine spoke with the video’s choreographer, Sherrie Silver.

“The video is full of madness and reflects what’s going on in America and around the world right now. The kids and the choir are supposed to be the happy part of that, so there are two different worlds at the same time. Multiple parts of the video are meant to catch the viewer off-guard, with people smiling and enjoying themselves before it goes dark.”

And Finally

Hoping everyone had a wonderful Mother’s Day on Sunday: mothers, departed mothers, in-all-but-name mothers, unjustly absent mothers.

– Rachel Eggers, SAM Manager of Public Relations

Image: Courtesy of Magnolia Pictures
Share

Poet Morgan Parker on Mickalene Thomas, Beyonce, and Figuring History

As National Poetry Month comes to a close, if you’re not sure what to read, visit the library inside of the exhibition Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, closing May 13. While there you’ll notice a book of poetry by Morgan Parker titled There Are More Beautiful Things Than Beyoncé (Tin House, 2017). It’s a recent favorite read of this particular copywriter and the cover of the first edition (now sold out) featured a Mickalene Thomas artwork. More importantly, within the pages of this smart, irreverent, and deeply personal collection of poetry is a piece inspired by Thomas, reprinted below! Morgan Parker simultaneously brings great depth to listening to Drake and immense weight to racial discrimination as she fearlessly invokes generations of social injustices within her powerful and playful prose. Parker stopped by the exhibition while visiting Seattle and shared some thoughts on Figuring History as well!

We Don’t Know When We Were Opened (Or, The Origin of the Universe)
after Mickalene Thomas

By Morgan Parker

A sip of liquor from a creek. Saturday syndicated
Good Times, bare legs, colors draped like
an afterthought. We    bright enough to blind you.
Dear anyone, dear high-heel metronome, white
noise, hush us, shhhhh, hush us. We’re artisinal
crafts, rare gems, bed of leafy bush you call
us           superfood. Jeweled lips, we’re rich
We’re everyone. We have ideas and vaginas,
history and clothes and a mother. Portrait-ready
American blues. Palm trees and back issues
of JET, pink lotion, gin on ice, zebras, fig lipstick.
One day we learned to migrate. One day we studied
Mamma making her face. Bright new brown, scent of Nana
and cinnamon. Shadows of husbands and vineyards,
records curated to our allure, incense, unconcern.
Champagne is how the Xanax goes down, royal blue
reigning. We’re begging anyone not to forget
we’re turned on with control. We better homes and gardens.
We real grown. We garden of soiled panties.
We low hum of satisfaction. We is is is is is is is is
touch, touch, shine, a little taste. You’re gonna
give us the love we need.

SAM: Reading We Don’t Know When We Were Opened there’s a lot of assonance that creates repetition and fragmentation that feels to me like a sonic equivalent to Mickalene’s visual fragmentation. What in Thomas’ work inspired you and this poem, formally or thematically?

Morgan Parker: I’ve always loved Mickalene’s work, for the glitter and the color and the attention and the audaciousness. Her work is a celebration, and it’s also a politically intentional decolonization of the art history canon. She builds new worlds and revels in those worlds. I wanted my poem to reflect her work and add to it, translate it in my own words.

How do you think the persona poem and the way that Mickalene Thomas casts her models as art historical figures and tropes relate? Mickalene’s figures are looking right at you and this alters their role—makes them dimensional, such as in a painting like Tamika sur une chaise longue avec Monet. Where do you think that same dimension lives persona poems?

God I love this painting. I like to think of all my first-person poems as playing with dimensionality. I’m interested in using the singular figure, or voice, to call up cultural figureheads and historical tropes. Persona poems are an extension of that—they have two first-person speakers.

What stuck with you from your visit to the exhibition? Any lingering or new thoughts?

Kerry James Marshall’s Souvenir I always makes me cry. It was also fantastic to see Robert Colescott’s work in person, as I’ve been thinking about it a lot lately. I love the way it engages stereotypes and recasts history so playfully and comically. In a different way than Mickalene, there’s trickery in acknowledging the audience’s gaze—that’s something I’ll be thinking over for a while.

 

Morgan Parker is the author of There Are More Beautiful Things Than Beyoncé and Other People’s Comfort Keeps Me Up at Night. In 2019, a third collection of poems, Magical Negro, will be published by Tin House, and a young adult novel will be published with Delacorte Press. Her debut book of nonfiction will be released in 2020 by OneWorld. Parker is the recipient of a 2017 National Endowment for the Arts Literature Fellowship, winner of a Pushcart Prize, and a Cave Canem graduate fellow. She is the creator and host of Reparations, Live! at the Ace Hotel. With Tommy Pico, she co-curates the Poets with Attitude (PWA) reading series, and with Angel Nafis, she is The Other Black Girl Collective. She lives in Los Angeles.

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

Images: Photo courtesy of Morgan Parker. Photo by Nina Dubinsky. Video: Tamika sur une chaise longue avec Monet, 2012, Mickalene Thomas, Sydney & Walda Besthoff, Courtesy of the artist and Lehmann Maupin, New York and Hong Kong, © Mickalene Thomas. Photo courtesy of Morgan Parker.
Share
Share