“It’s a space where it really calls upon you to interpret on your own and to take from it what you need. Or just sit and take it in.”
– Tracy Rector
Hear from independent filmmaker and activist Tracy Rector on her favorite thing at SAM, The Porcelain Room. Brimming with more than one thousand magnificent European and Asian pieces from SAM’s collection, the Porcelain Room has been conceived to blend visual excitement with a historical concept.
Rather than the standard museum installation arranged by nationality, manufactory, and date, our porcelain is grouped by color and theme. Today, when porcelain is everywhere in our daily lives, this room evokes a time when it was a treasured trade commodity—sometimes rivaling the value of gold—that served as a cultural, technological, and artistic interchange between the East and the West.
Last week, SAM announced that Amada Cruz has been chosen as the
museum’s new Illsley Ball Nordstrom Director and CEO, succeeding Kimerly
Rorschach who is retiring in September. Brendan Kiley of the Seattle
Times had the exclusive. Brangien Davis of Crosscut
and Jasmyne Keimig of the Stranger
also both interviewed Amada.
“The publishing history of ‘No-No Boy’ is as important as the book
itself,” he said, remembering how he would sell copies of the original CARP
edition out of the trunk of his old Mustang in the 1970s. “To publish the book
without acknowledging that publishing history is publishing a very incomplete
In This Imperfect Present Moment closes Sunday, June 16! Don’t miss this chance to see works across a wide array of media by artists hailing from Cape Town, Johannesburg, Cotonou/Rotterdam, Luanda/Lisbon, Baltimore, to Los Angeles, and New York. These works have been brought to Seattle by local collectors who are intrigued by how these artists convey vibrant narratives that resonate across global boundaries. While you’re here take a close look at Surah al-Fatiha (the Opening), by Capetown artist Igshaan Adams.
Visiting Igshaan Adams in his studio in Capetown is to step into a zone
of transformation. He works with a group of weavers who wander in and out as he
shows you mounds of materials that are being upgraded to carry stories and
interpretations of Sufism, the mystical sect of Islam, which offers alternative
ways of looking at the world. He speaks of his love of the mysticism of Islamic
texts, and how they provide guidance for the realities of daily life. Learning
about his family provides further insight for his development as an artist; he
was raised by Christian grandparents who were supportive of his faith, fasted
with him during Ramadan, and invited imams over to the family home. As you trip
over ropes and nearly stumble into a massive maze of beads that are being
arranged in a spiral with a mystic rationale, you try to keep track of the mesmerizing
pull of the artist’s sincerity. His descriptions of involving the sacred to
encourage humankind’s capacity for good and nobility set a tone of deep introspection.
In the instsallation, you’ll see a tapestry named after the first chapter of the Quran. Adams has added beads to convey the opening line, which is meant to be recited and contemplated every time a believer begins to establish a direct connection with Allah. About this, Adams has said, “As an artist, I think I can give a person one moment of reflection or one moment with a different perspective.” So goes this imperfect present description of his effort, which is worth so many more words that you are encouraged to seek out online.
– Pam McClusky, Curator of African and Oceanic Art
Image: Surah al-Fatiha (the Opening), 2016, Igshaan Adams, South African, b. 1982, woven nylon rope, beads, 94 1/2 x 94 1/2 in., Private collection, photo courtesy of Blank Projects, Cape Town.
Blue Star Museums: free admission to military personnel and their families. Just show your military ID. The military ID holder plus up to five immediate family members (spouse or child of ID holder) are allowed in for free per visit (special exhibition surcharge may apply).
UW Art Students get free admission with sticker on their student ID
Basically, you have no reason not to visit! And remember, entry to SAM’s permanent collections is always suggested admission! You can come experience our global collection year-round and pay what you want.
SAM’s intricate and stunning sculpture of The Lamentation over the Dead Christ by Massimiliano Soldani Benzi is currently on view in Body Language, but wouldn’t be if it weren’t for a years-long project that restored the piece to its former sheen. To make this possible, our conservators worked with a team at the Museo Nazionale del Bargello in Florence, the original home of the sculpture. See images from the process and find out more about the conservation process from our conservators before you see this sculpture in person.
Massimiliano Soldani Benzi’s bronze sculpture The Lamentation over the Dead Christ (SAM 61.178) was cast in 1714 and acquired by SAM in 1961 as part of the Samuel Kress Collection. SAM’s Head of Conservation, Nicholas Dorman, led a multi-year fundraising campaign to study and treat the sculpture. Completed in December 2018, the project encompassed three broad goals: analysis of the surface and cleaning, replacing the lost crown, and constructing a new period-appropriate base.
The sculpture was loaned to the Museo Nazionale del Bargello in Florence in 2017, where it was featured in Making Beauty: The Ginori Porcelain Manufactory and Its Progeny of Statues. The exhibition discussed the relationship between Soldani and the Ginori Porcelain studio: after his death, Soldani’s heirs sold some of his wax models and molds to Mr. Carlo Ginori, who reproduced them in porcelain at his Florentine workshop. The bronze Lamentation over the Dead Christ was displayed next to its porcelain cousin for the first time, both having been cast from the same approximately 56 molds.
The Bargello exhibition was an opportunity to study and document the various layers of degraded, non-original surface coatings—a mixture of black-brown pigmented wax and oils—with Florentine conservator and metals specialist, Ludovica Nicolai. Nicolai has worked on a great number of Soldani’s works in the Bargello collection. In collaboration with Nicolai and SAM’s conservation department, scientific analysis of the coatings was executed by a team of scientists from Adarte, Pisa University and Florence University, in order to inform the cleaning approach. Over four months, solvent gels were used to soften the hardened coatings, followed by cleaning with dental tools and the flexible tips of porcupine quills to gently remove the non-original layers from the surface.
Meanwhile, the missing crown of thorns was re-cast by the Florentine foundry Ciglia e Carrai. Two sources informed the crown’s recreation: a 1970–1990s image of the sculpture located in the Fondazione Zeri archives (housed in Bologna), and the original wax model of the sculpture located in the Palazzo Pitti collection.
At the conclusion of the treatment, a stylistically appropriate wooden base was constructed—whose form echoes the porcelain version in the Bargello exhibition. This replaces the modern stone mount on which it has been previously displayed.
This project was a truly international collaboration. As well as the experts mentioned above, we are particularly grateful to Dr. Paola D’Agostino and Dr. Dimitrios Zikos and their colleagues at the Bargello for their abiding support and for being so generous with their knowledge. To conserve a sculpture like this in its original place of creation is a significant funding challenge, and we wish to thank the Samuel H. Kress Foundation, The Museo Nazionale del Bargello, SAM’s Plestcheeff Fund for Decorative Arts, an anonymous foundation and an anonymous individual donor. Thanks to their support, we can present and share the story of this magnificent Florentine baroque sculpture.
– Geneva Griswold, SAM Associate Conservator& Nicholas Dorman, Chief Conservator
Images: Installation view Body Language, Seattle Art Museum, 2018, photo: Natali Wiseman. Before conservation photo: Ludovica Nicolai. Installation view Museo Nazionale del Bargello, 2017, photo: Arrigo Coppitz. During installation and details photo: Ludovica Nicolai. Fondazione Federico Zeri Archive | no. 149804Silver gelatin print, ca. 1970–1989 During treatment in the Bargello Museum galleries, photo: Geneva Griswold. After conservation photo: Ludovica Nicolai. Installed on pedestal photo: Arrigo Coppitz. The Lamentation Over the Dead Christ, ca. 1714, Massimiliano Soldani, Bronze, 34 x 32 3/4 x 22 1/2 in. Samuel H. Kress Collection, 61.178.
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.
How did you start working with Path with Art?
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?
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
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
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?
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?
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
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?
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.
“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.”
“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
As a person who has taken IKEA desks and Christmas trees on Seattle buses, I am here for this.
If you’ve strolled through the Olympic Sculpture Park since May
you’re probably wondering about the tire tracks covering the PACCAR Pavilion.
As if monster trucks went rogue or a motorcycle gang veered off Western Avenue to
burn some surreal rubber, the building is wrapped in a pattern of skid marks.
Look closely and you’ll spot five
toy motorcycles on the interior mural wall, the origin of this mind-bending temporary
intervention—by one of Latin America’s most influential contemporary artists—that
alters our perceptions of our physical environment.
Commissioned by SAM, Regina Silveira: Octopus Wrap is the latest architectural installation the artist has realized around the world. Hailing from Brazil and examining the ways superimposed images change the meaning of an existing space, Silveira took inspiration from the Olympic Sculpture Park’s location at the intersection of several busy thoroughfares. Next time you visit the park, tune in to the sounds of traffic, trains under the greenway, and the churning sea, as you take in Octopus Wrap, on view through March 8, 2020
Silveira’s interventions on the exteriors and interiors of buildings, on city streets and in public parks, have included dense clusters of footprints, swarms of insects, nocturnal light projections of animal tracks that wander across building façades, and exaggerated shadows. Some of her installations have the appearance of occupations, infestations, or supernatural visitations; others seem to be fantastical apparitions that suspend the laws of nature and perception.
For Regina Silveira, a political element of these ruptures resides in their assault on our perception or, in her words, “in the level of transformation that can be brought about by grafting something into a given space in a way that magically changes its relationship to the real.” Her aim is estrangement from the familiar, and her preferred tactic is surprise. Beyond a heightened sensory experience within a newly defined space, Silveira’s mode of intervention can also be understood in social and political terms.
With Octopus Wrap, the pavilion’s calm, white walls are noisily invaded by five motorcyclists who use the windows, walls, and floor as their racetrack. When seen from a distance, the undulating tracks create another, larger image, one that ensnares the architecture as if within the arms of an octopus. The installation will be temporary, but the new images and sensations it creates will enter our memory and form a lasting imprint of a different kind.
We extend a special thank you to our generous SAM Fund donors who helped make this installation possible.
“But there is nothing supernatural or sacred here. We have the deepest
feelings for light because it powers the processes that result in the wine we
drink, the books we read, the park-bench kisses we enjoy all through the
“Chicago is a city
full of hope about shifting histories and moving toward equity, and the fact
that the new mayor wanted a work of art about that says a lot,” Gass added. “We
believe in the power of art to help shift perspectives, and hopefully the map
in the office will help do that.”