All posts in “Olympic Sculpture Park”

Picnic at Olympic Sculpture Park with Landscapes Café

Despite Seattle’s typically June-uary weather, SAM is ready for summer and you know what that means—empanadas! Landscapes Café in our PACCAR Pavilion at the Olympic Sculpture Park has extended their hours and their menu to make sure that visitors to SAM’s waterfront sculpture park have all the snacks and beverages they could possibly need.

Now open Friday through Monday from 10 am to 2 pm, Landscapes offers a rotating selection of roasters and their seasonal drink, The Vermonter (latte with maple syrup, brown sugar, and cinnamon). For all you non-coffee drinkers, Smith artisan teas, Spindrift sodas, kombucha, and juice boxes are available so everyone can stay well hydrated.

Sweet & savory pastries from Comadre Panaderia & Macrina Bakery and grab-and-go sandwiches and salads from Molly’s make it so that all you have to bring for the picture perfect picnic is the blanket.

Landscapes Café originated as a teardrop trailer mobile coffee shop owned by barista Rickie Hecht and is part of SAM’s continuing partnership with Seattle nonprofit Ventures, which helps bring emerging entrepreneurs to the sculpture park’s PACCAR Pavilion. Stop by next time you take a walk in the park!

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Site-Specific Art at the Park: Regina Silveira’s “Octopus Wrap”

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.

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Muse/News: Summer fun, earthy art, and a wish

SAM News

Heads-up, parents and caregivers: summer in Seattle is upon us! Here’s Elisa Murray for the Seattle Times with great ideas to keep the learning going and keep the fun going while school’s out. She includes Summer at SAM, our annual series of free programming at the Olympic Sculpture Park, held this year July 11 through August 22.

And Artdaily and Patch.com both shared the news about Regina Silveira: Octopus Wrap, the mind-bendingly cool site-specific installation at the Olympic Sculpture Park’s PACCAR Pavilion.

Local News

At this week’s event featuring Tayari Jones (she was AMAZING), Seattle Arts and Lectures announced their exciting 2019-20 lineup, including Ta-Nehisi Coates, Min Jin Lee, and Jodi Kantor & Megan Twohey.

Musical hooks and a “subtle new take on its sexual politics”: Seattle Magazine’s Gavin Borchert on “Why You Need to See Seattle Opera’s Carmen.”

Crosscut’s Brangien Davis examines the dire news about climate change and looks at how art could be a vital way to confront the challenges ahead.

“It might seem too-little-too-late to argue for sublime beauty in the face of urgent statistics about habitat loss, mass extinctions, droughts, wildfires and coastal erosion. But the introspective state that art is so adept at conjuring might be the only angle from which our modern brains can process and address the monumental facts.”

Inter/National News

Farewell to I.M. Pei, the Pritzker Prize-winning architect who passed away at the age of 102. He designed the glass pyramid entrance of the Louvre in Paris and the East Building of the National Gallery of Art in Washington, DC.

The team at Artnet has a gondola-full of reads on the Venice Biennale, including the recent news that Lithuania’s beach-opera installation and Arthur Jafa’s film “The White Album” took the event’s top prizes.

Renée Reizman for Hyperallergic on Dandelions, an installation by the anonymous Los Angeles art collective Art Department that turned a decommissioned substation into “a secret wish-processing facility.”

“The bureaucrat asked more general questions. Could the wish be categorized as altruistic or selfish? Did it pertain to romance or your career?”

And Finally

“We sat them up on chairs, they were smiling for the camera. It was the greatest day of my life.

– Rachel Eggers, SAM Manager of Public Relations

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Native Interpretations of Land: Art Encounters at Olympic Sculpture Park

Every year brings the creative process of local artists to the Olympic Sculpture Park through our artist-in-residence program, Art Encounters. This year Christine Babic (Chugach Alutiiq) is working away on SKIN SEWERS at the PACCAR Pavilion. Babic—in collaboration with her mother, artist Mary Babic (Chugach Alutiiq), and Alex Britt (Nansemond, White)—is combining performance and installation to create a site-specific experience that explores the gap between contemporary and traditional Indigenous works. Art Encounters are a chance to learn about the practice of making art while participating in experiences that respond to the Olympic Sculpture Park and the Seattle region. This year you can get involved by dropping into one or both of the Art Encounters on January 25 and February 22, from 7–9 pm.

SAM: I love this description of this as an intestinal window into a shared history. I was wondering if you could elaborate a little bit upon on the connection to land, skin, and history in Skin Sewers.

Christine Babic: Since this residency is at the Olympic Sculpture Park, we wanted to talk about land and what land means for Indigenous people. Through SKIN SEWERS, we’re trying to get a sense of generational gaps and what the spectrum of generations think of land and its meaning. For both my mom and I, who are from Alaska, we’ve talked about subsistence as being the first thing that comes to mind when we think of land—the resources and gifts of the land.

Mary Babic: I was raised in Seattle. I really did not know what Alutiiq meant. I knew I was Alutiiq and I knew I was German. When I moved to Alaska in 1980 I realized I was immersed in Chugach Alutiiq culture. So, I wanted to learn everything I could about my background. I started sewing woods, firs, leathers, and started beading. Friends in the area shared a lot about utilizing the resources we had and living off the land. Not only would you use a seal for its meat (which is very high in iron), but you would also use every part of it. You wouldn’t waste anything. You were always grateful. You would always thank the animal for giving itself to you. That was one thing I learned right away about subsistence. So, I started sewing with the fur. I also learned how to clean the intestine and to blow it out and make things out of it.

Christine: It’s an interesting material because it’s a waterproof material, and it’s semi-opaque. And it has this simultaneous fragility and strength to it. You get it wet to sew with it and then it dries. It can be used as rain jackets. Seal intestine was also used for death masks. It was a kind of protection—a spiritual protection. Not only from the rain and weather but this spiritual protection that comes with using these materials. So, there’s a lot of dualities when using these materials. For us, it’s not only an experiment in Indigenous materials but also this spiritual connection to our culture. Doing these things that your ancestors did—these are Indigenous materials and we are Indigenous people. Only Indigenous people can source seal. They’re protected under the marine mammal protection. The materials used in SKIN SEWERS are synthetics, but we’re going off of tradition and what our ancestors used. When people are displaced from their land, there’s no access to the materials that we’ve always used. Practicing culture and making artwork is part of cultural evolution and is important to us as Native people—SKIN SEWERS is not an answer, this a conversation.

What kind of materials will be involved in this performance?

Christine: For this, we’re using a synthetic intestine which is collagen, pig intestines, and fish skin. So, inner skins and outer skins. Seal intestines is much harder to get. Something I’m addressing is the evolution of Indigenous material and how we use these things in place of seal gut. In my grandmother’s generation, there was a lot of Americanizing going on so she never wanted to be a Native. She wanted to be as assimilated as possible because there was so much racism happening. When my mother moved back to Alaska she was able to relearn our culture and reclaim these things and identities as Native. My mom raised me as a Native person so those ideas are what I’m referencing. I can carry my Native-ness with pride but there is a gap culturally for us, generationally, because my grandmother did not have that option. Through these materials, there’s a lot of acknowledgment happening.

You’ve mentioned learning traditional sewing techniques from your mom. Have you two collaborated creatively before? What does your collaboration looks like?

Christine: Always. In every show, my mom helped. This is probably our first official collaboration. My mom is inspired by tradition, so she’s really obsessed with researching how our ancestors used to do things. I really like performance art and contemporary art. Bringing parts of what my mother taught me into a contemporary context and working together allows me to make performances out of things that you may not necessarily think are performances, like sewing. This lets us look at them in a different lens—that’s interesting for me.

Mary: You definitely take me out of my comfort zone. I do tend to be more traditional in my artwork and I have been working on a curriculum for Chugachmiut Heritage Preservation that teaches about traditional artwork and how to make clothing. I’m working on that project right now. Working a little more contemporary with the material has definitely opened my eyes. The fish skin that we have in the show, we made a non-traditional and traditional tan. We’ve used brains from the deer and some of that is in the window that we have on display. We also did a non-traditional tent which was using glycerin and rubbing alcohol and that I have a video on that I hope to show during the presentation as well.

Have you collaborated with Alex Britt before?

Christine: No, but I really am a fan of their work. They’re very image-based and a photographer. I always liked how they explained their relationship to the body and land. Bringing in different Indigenous perspectives is important to SKIN SEWERS. Obviously, there is such a wide spectrum. Alex’s photos will be a part of the installation. So, I think it will just kind of show the distances and the different ways we think about land and Native perspectives.

When people come to your Art Encounter, what should they expect to experience?

Christine: This is an active installation, where people can move freely about and get close to the materials and watch how we work with the materials. You’ll get a sense of how our ancestors used and talked about these. We’ll also have texts about the duality of materials and how we want to continue to use them and bring these materials and traditions wherever we go and think about them as they evolve. We’re going to have a demonstration to inflate the pig intestine. This is similar to the way that ancestors used seal intestines—blowing them up, drying, and cutting them. The labor that goes into using them, how much time and care goes into the work—the performance parts of SKIN SEWERS are an act of care and respect for the material, the land, and our tradition. The process is valuable and beautiful, using these materials involves being meticulous, careful, and loving. We come from people who are sewers, who sew skins. SKIN SEWERS, as a project, is really to highlight how important the action is and not just the finished object. I wanted to show other people the performance through the physical actions and what that looks like.

For the third year of our winter Olympic Sculpture Park artist residency, we changed things up a bit. Unlike the last two years, this year’s artist was not selected through an open call, but selected in collaboration with yəhaw̓, an exhibition celebrating the depth and diversity of Indigenous art made in the Pacific Northwest. Curated by Tracy Rector, Asia Tail, and Satpreet Kahlon, yəhaw̓ opens at King Street Station March 23, 2019. You can see more of Christine Babic’s work when it opens! We’ll see you there.

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

Photo: Jessa Carter. Photos: Nina Dubinsky
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New Cedar for Bunyon’s Chess

A brilliant conservator[1] once noted that “art conservation is a fight against entropy.” This is especially visible for works sited outside which require conservators, artists, and stakeholders to carefully consider what is essential for an outdoor sculpture to continue to exist for future generations. When the carved cedar elements of Mark di Suvero’s sculpture Bunyon’s Chess were no longer structurally stable, di Suvero and his studio worked closely with the Seattle Art Museum to explore the artwork and discover solutions.

Bunyon’s Chess was created by Mark di Suvero in 1965 for Virginia and Bagley Wright’s residence in Seattle. The family’s documentation of the creative process provides wonderful insight into the artwork.

In 2006 the Wrights promised the work to the Seattle Art Museum and it was moved to the Olympic Sculpture Park. The cedar elements had begun to show degradation in their original site but this accelerated at the park partially due to the exposed location and partially due to the natural deterioration of cedar. As cedar ages in an outdoor setting a number of events occur: the natural biocide slowly migrates out with water, the wood absorbs water at an increasing rate as it deteriorates, fungal deterioration is common, as well as insect and wildlife damage. The logs of Bunyon’s Chess were treated annually with a fungicide to slow the fungal deterioration but without major visual interventions such as end caps or moving the sculpture to an interior location, deterioration continued at a fairly rapid pace.

In 2009 an in-depth condition assessment was performed which determined that the deterioration, particularly on the interior had progressed to a state where the logs were in danger of falling. In 2010, the logs were consolidated, the large losses filled and the exterior coated to prolong the life. During this period research and conversations with di Suvero regarding the replacement were begun as this treatment could not prolong the life of the cedar indefinitely. Di Suvero determined that new logs could be carved to replace the original cedar, as it is the visual integrity of the work that is important.

After much research, new cedar of the similar dimensions and tight ring growth was sourced for carving. Seattle artist Brian Beck peeled the logs in preparation for carving.

Kent Johnson and Daniel Roberts from di Suvero’s studio traveled to Seattle and carved the new logs using the original cedar elements as a guide.

Beck worked with Johnson and Roberts to create the same join between the two logs. Much of the original hardware such as the 36” bronze bolts and galvanized steel eyehooks were presevered and reused on the newly carved elements.

If you look carefully, at the top of the sculpture you will note a slight bend in the top tube. Di Suvero wanted this natural bend to remain but believed this opportunity should be used to reinforce the structure.

Fabrication Specialties Ltd. worked with the di Suvero studio to create an interior support which was welded in place.

The logs were strung with new stainless steel cabling and were carefully measured and marked to the lengths of the original cables to assist with the rigging. Larry Tate, Andrew Malcolm, Tracy Taft, Ignacio Lopez, and Travis Leonard of Fabrication Specialties placed the new logs within the original steel frame working closely with images and a model of the original. The di Suvero studio generously participated in video calls throughout the day.


Special thank you to: Mark di Suvero and Studio, Virginia Wright, Fabrication Specialties Ltd, Equinox Studios, Alta Forest Products, Brian Beck, Christian French, and Catharina Manchanda for helping preserve this public artwork free for everyone to enjoy at the Olympic Sculpture Park year round.

– Liz Brown, SAM Objects Conservator

Photos courtesy of Virginia Wright and Liz Brown.
[1] Lauren Chang
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Encountered in Orbit: Artists in Residence at Olympic Sculpture Park

“We look to a blue dot on our phones to locate ourselves,” Tia Kramer points out. “Orbiting Together offers a new way engage with unseen objects that make that technology possible. Through text messages we instruct participants to poetically enact gestures that respond to the function of the satellites orbiting overhead.” Orbing Together is the participatory experience of the current Olympic Sculpture Park artists in residence, Tia Kramer, Eric Olson, and Tamin Totzke. When you opt in to Orbiting Together you get texted instructions, or scores, on how to orient yourself to the space around you once or twice a day, wherever you are, at the same time as anyone else signed up, according to satellite movement over the park. The residency culminates in a final Art Encounter, a participatory experience and performance, at the Olympic Sculpture Park, Friday, February 23.

The functions and properties of the satellites triggering the text messages inform the scores you receive. Some of the messages are sent along with images and information on the satellite that sends them. When writing the scores, the artists are considering binaries. Both the binaries of computers that direct satellites across the skies above us as well as, “how to hold divergent concepts in your mind and body at the same time,” Kramer says.

The three artists in residence bring unique backgrounds to the project. Tamin Totzke, with an MFA in choreography, offers movement practices that inform the scores. Tia Kramer is a site-specific performance artist, educator, and social choreographer interested in gestures and actions of human connection in the everyday. Eric Olson uses his programming and technical skills to create participatory art practice and social engagement. They all consider the Art Encounter portion of their residency as making the irony of the project clear.

“We’re asking people to consider the somatics of our relationship to technology, while using technology to create connection,” Olson points out. Somatics is the making of meaning through intentional movement that allows you to perceive yourself and the world around you. While the project points out how we isolate ourselves from each other and our environments by referring to satellites thousands of miles away to tell us the name of the street we are on, it also uses cell phones and social media to prompt group actions.

Because it requires your phone to take part, the balance between documenting and experiencing is also an inherent tension to the project. Orbing Together is at once a chance to re-orient in space outside of your phone, while using your phone to facilitate that orientation. “We’re playing with parody. We’re using an ad agency technology to facilitate personal agency.” Eric Olson says.

By creating a database of all the satellites that move over Seattle daily (most pass over multiple times a day), tracking which zip codes they travel through, and using advertising technology that sends text messages, Orbiting Together is bridging space through simultaneity.

With people opted in across the world, the Olympic Sculpture Park becomes a location that people the world wide are orienting themselves by, while paying closer attention to their immediate surroundings. For the final Art Encounter at the Olympic Sculpture Park there will be a blend of visitor participation and performers in attendance. It will not be immediately apparent who is a performer and who is an audience member. The performers will create a complete presentation of the gestures that have been texted throughout the project. There’s still time to take part, text “TOGETHER” to “206 IN 01 SKY.” Also coming up this weekend is a send off celebration and artist tour of the Olympic Sculpture Park, Sunday February 25, 10:30 am–noon. Meet in PACCAR Pavilion to join the artists in residence for a tour of the park with inspired exercises.

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

Images: Jen Au, Nina Dubinsky, Jen Au
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Two dancers perform in front of Calder's Eagle during Sculptured Dance at Olympic Sculpture Park

All Walks of Life: Public Programs at the Olympic Sculpture Park

The radiant clouds that stretch across the bridge of Teresita Fernández’s Seattle Cloud Cover look different every time you encounter them. On a rainy day, the site-specific work at the Olympic Sculpture Park offers a shelter of saturated colors that pop against the surrounding gray sky. When you witness a freight train moving beneath it, the train’s cargo becomes part of the art, washed over in its rainbow assortment of hues. As you stand beside it to watch the sunset over the Puget Sound, your body appears in silhouette to onlookers across the Park. As Fernández describes, Seattle Cloud Cover “…blur[s] the lines between your presence as participant and observer.”

Woman gives a tour in front of Fernandez's Seattle Cloud Cover during Remix at Olympic Sculpture Park

The blurred line that Fernández refers to between participation and observation is integral to the art at the Olympic Sculpture Park, as well as to SAM’s Education Department as they design programs to engage visitors from all walks of life. “It’s amazing to have the Sculpture Park as a free resource located in the heart of Seattle and to think of how we as educators can maximize that opportunity for the community by creating programs that challenge visitors to rethink the relationship between art and environment,” says Regan Pro, SAM’s Kayla Skinner Deputy Director for Education and Public Programs.

Easels set up for art marking during Summer at SAM at Olympic Sculpture Park

Pro continues, “I love thinking about all of the different ways we have had visitors interact and engage with Alexander Calder’s The Eagle over the last ten years and how people have come to think about all of the permanent sculptures in new ways.” Every year, all second graders from Highline School District explore the land and art around The Eagle during the free tours and art workshops offered as part of SAM’s School Programs. Dogs and their owners walk along the path at its base during Dog Night. Revelers dance into the night beneath its wingspan during Remix, which moves to the Sculpture Park for its summer iteration. Dancers from the Pacific Northwest ballet perform new work beneath its steel limbs as part of Summer at SAM for Sculptured Dance, a night of site-specific performances. These are only a few of the many programs that offer a chance for the public to participate and think about The Eagle and other works in the park in new ways.

Child participates in light mural during SAM Lights at Olympic Sculpture Park

In recent years, SAM has expanded the programming in ways that stretch ideas about what art museum experiences can be. This fall, the museum will partner with Tiny Trees to offer an outdoor preschool at the Sculpture Park that focuses on art and the environment. In the winter, SAM Lights illuminates the landscape with temporary light installations and hundreds of luminarias. And, the PACCAR Pavilion temporarily becomes an artist residency space, where performers create new projects in response to the artworks and landscape.

Essential to all of the educators’ work is the participation of departments from across the museum and beyond, including community organizations like Pacific Northwest Ballet and Forterra. “This is work that incorporates ideas of so many people,” emphasizes Pro. “It’s this shared vision that’s made the programs at the park successful.” Similarly, it’s the coalescence of elements—the art, the design, the environmental achievements, the landscape, the programming and the community—that together create the Olympic Sculpture Park as we know and celebrate it now, on its tenth anniversary.

— Erin Langner, Freelance Arts Writer and Former SAM Adult Public Programs Manager

This post is the final installment in a series of stories exploring the history of the Olympic Sculpture Park in celebration of its 10th anniversary.

Images: Photo: Robert Wade. Photo: Jen Au. Photo: Robert Wade. Photo: Sasha Im.
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Shaping New Sightlines: The Olympic Sculpture Park’s Evolving Landscape

Walking through the Grove at the Olympic Sculpture Park, it’s easy to forget you’re in a city. As the path descends, the flickering Aspen leaves, purple pops of Oregon grapes, and thick layers of ferns make the urban landscape feel suddenly distant. One could almost mistake the path for a hike outside city limits were it not for the landmark that emerges at the end: Tony Smith’s sculpture Stinger, a square, geometric fortress made of slick, black steel.

The Olympic Sculpture Park’s landscape merges artistic, natural, and urban landscapes of the Pacific

Northwest, via the innovative design by architects Weiss/Manfredi and Charles Anderson Landscape Architecture. The Z-shaped Mosley and Benaroya paths guide visitors from the PACCAR Pavilion and surrounding cityscape at Elliott Avenue and Broad Street, down 40 feet to the waterfront below, bringing them through four landscapes that reference regional ecosystems along the way: the Valley, the Meadows, the Grove, and the Shore.

When the sculpture park opened in 2007, the plant palettes that filled those environments were 95% native to the region—an unusual accomplishment at the time and one that established the park as an early model for future parks’ design. Julie Parrett, a former project manager for Charles Anderson Landscape Architecture, explained, “Ten years ago, there weren’t a lot of examples of corporate campuses or institutions that were working with native plants extensively. A couple of universities were doing it but it was pretty rare. . . . One of the unexpected outcomes was creating habitats that we didn’t even necessarily know we would create, for both birds and marine life.”

Over the past ten years, the park’s landscape thickened and flourished around the sculptures and architecture, filling in with denser grasses and taller trees. This is due in part to the way the native plant species are maintained with limited human intervention. Bobby McCullough, Head Gardener since the sculpture park opened, described, “Unlike strict, well-groomed, extremely maintained gardens, the sculpture park landscape is meant to constantly evolve, so we have to let it grow as it succeeds and replace what fails.”

Humans aren’t the only species to appreciate this approach. The natural landscape has also encouraged wildlife to return to the once-toxic stretch of Seattle’s urban core. McCullough pointed to the Shore as an example of a new habitat that has become established since the park’s opening: “We allowed the shrubbery and grasses along the waterfront to grow more on the natural side, which has enabled it to become a bird sanctuary. Even though we clean it up once a year to remove the dead grass, we try not to touch it very much because it’s become an active habitat area.”

The Olympic Sculpture Park experience feels especially unique in the moments when the landscape, art, and design come together before our eyes. Whether this happens while sitting on one of Louise Bourgeois’s Eye Benches, spotting a seal on the Puget Sound, or watching crows perch in the steel branches of Roxy Paine’s Split, the land brings new insights to the way we see the art, and the art frames the natural world in ways we wouldn’t ordinarily see. Over time, the park’s sightlines will continue to shift and evolve, promising new encounters with every visit.

—Erin Langner, Freelance Arts Writer and Former SAM Adult Public Programs Manager

This post is the fourth installment in a series of stories exploring the history of the Olympic Sculpture Park in celebration of its 10th anniversary. Over the course of this year, we will continue reflecting on the Park’s evolution over the past decade.

Images: Photo: Natali Wiseman. Photo: Benjamin Benschneider. Photo: Paul Macapia. Photo: Paul Macapia. Photo: Paul Macapia. Photo: Paul Macapia.
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Summer at SAM Celebrates 10 Years of the Olympic Sculpture Park

It’s the 10th anniversary of the Olympic Sculpture Park and Summer at SAM is bringing you entertainment and activities around art at the park, all summer long. Mingle, make, and move until the sun goes down over the Puget Sound. Inspired by SAM’s special exhibitions, Yayoi Kusama: Infinity Mirrors at the Seattle Art Museum and installations by Christopher Paul Jordan and Spencer Finch at the Olympic Sculpture Park, Summer at SAM explore place-making, cultural confluences, and learning from our local environment.

Like the sculpture park itself, all Summer at SAM programs are free, open to the public, and all-ages. So check us out Thursdays and Saturdays, July 13 through August 31 and get active in your city with concerts, art making, food trucks, and fitness. In their own words, get to know two of Summer at SAM’s partner organizations for events such as the Kickoff next Thursday, July 13 from 6–8 pm produced in partnership with Black & Tan Hall and our Saturday art activity led by artists of the Lion’s Main Art Collective.

Black & Tan Hall, is the premier cultural event space that the south end has been waiting for. Its unique business model with over 20 community partners has given birth to a consensus-run establishment that prioritizes healthy, delicious food, fair pay to artists, and quality events. We want to give you a reason to dress up for a night on the town.

Our upcoming partnership with SAM gives Seattle a small taste of what Black & Tan Hall will be producing when our doors open at the end of the summer. Chef Tarik Abdullah will be serving his eclectic North African inspired dishes made with fresh Northwestern ingredients on the lawn, while bands like New Triumph, Peace & Red Velvet, and the Mockingbirds light up the stage with hip-hop afro-caribbean beats, and DJ Toya B keeps the crowd lively throughout the evening.

Black & Tan Hall will be open for breakfast during the week, brunch on the weekends, and dinner with select music, theatre, film, and dance events. We are also available for private rentals, and co-producing opportunities. We are “the people’s” establishment for diversity, community, creativity, and simply a good time!

– Black & Tan Hall

Lion’s Main Art Collective is a Seattle-based community of queer and trans artists that showcases innovative interdisciplinary art. Participating artists are excited to present From the Foundation, an installation created from fabric and wood exploring private and public experiences of home. Combining screen printing, photography, painting, text, and zines, this project is takes a cumulative approach by gathering images and reflections from individuals in the LGBTQ+ community. Trinkets, pictures, recipes, and stories are screen printed on the walls entwining personal experiences into a communal web.

Lion’s Main is excited to partner with SAM and bring together communities through visibility and engagement. Park goers are invited to share their own stories and reflections. What does home feel/look/taste like? What do you keep from past homes? What memories and sensations do you associate with it? Visitors are invited to write their experiences on fabric which will be sewn together to create a “ceiling.”

Participating Lion’s Main artists

Sofya Belinskaya, a Ukrainian-born visual artist, creates works on paper that oscillate between dreams and reality. She is compelled by the void, magical realism, and emotive narratives. She is a teaching artist and organizer based in Seattle.

Jax Braun is a poet/writer, biologist, crafter, and performance artist. Their works are informed through the structure of biological worlds and dwell on interpreting personal histories and experiences.

KEM_C is a Seattle-based printmaker/tapemaker/clubscum, specializing in etchings, screenprints, & VHS tapes. Ask her about a cozier alternative to safe/r spaces.

Sequoia Day is a Seattle-raised queer arts organizer, photographer, painter, and full spectrum doula. They are drawn to the soft places that exist in people and home. Their work often touches on care, debris, and maintenance in the home space, and what spills forth from the places we build and inhabit.

Emma Kates-Shaw is a fiber/found object/tattoo/paint/pen/pencil worker, fascinated by light, time, space, and the beauty of the early early morning.

Markel Uriu is an interdisciplinary artist in Seattle. Her work explores the quiet intimacy of inner worlds, feminine labor, impermanence, and the unseen. Drawing from mythology and rituals, she explores these concepts through ephemeral botanical narratives and two-dimensional work.

Established in 2013, Lion’s Main Art Collective is a non-profit organization curating multidisciplinary events and festivals, including Transience at King Street Station (2016), QTONE Shorts in collaboration with TWIST: Seattle Queer Film Festival (2016), and Othello Quartz Festival at John C. Little Park (2016). They have received funding from the Office of Arts & Culture and the Pride Foundation. Past partnerships include Henry Art Gallery, Gender Justice League, Gay City, and Three Dollar Bill Cinema.

– Sofya Belinskaya

Photo: Robert Wade. Photo: Tarik Abdullah.
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