All posts in “SAM News”

SAM on TV, Seattle’s new arts hub, and pink collar jobs

SAM News

Jeffrey Gibson: Like a Hammer was featured in a spring arts preview on KING 5’s Evening Magazine’s March 14 episode, and the writers of Teen Tix highlighted the show in their email newsletter.

Because we could all use some laughs: Classic British Comedy Films is now playing weekly at SAM; the series was included on the Stranger’s list of “Movies Worth Watching in Seattle.”

Local News

The Stranger’s Jasmyne Keimig takes a life-changing coffee break, encountering a “brave and stirring painting of a dignified small-toothed whale.”

Watch Jen Dev’s video story for Crosscut on the Black Trans Prayer Book, an interfaith, interdisciplinary project created by J Mase III and Lady Dane Figueroa Edidi.

The Seattle Times’ Brendan Kiley explores the new and shiny ARTS at King Street Station, along with its inaugural exhibition, yəhaw̓—go see it this weekend!

The King Street project, from rumor to reality, was a team effort between the city and its arts community. “I’ve been using a coral-reef metaphor,” Engstrom said. “We all put this thing here, like a reef. Now we’ll see what will come and go, what will make a home here and how it will change.”

Inter/National News

Martin Bailey of the Art Newspaper reports that London’s National Portrait Gallery will not accept a €1 million grant from the Sackler Trust; the Sackler family is under fire for their role in the opioid epidemic.

Hey, it’s Women’s History Month. Let’s explore the perils of the pink collar with this just-released report from the Gender Equity in Museums Movement (GEMM).

The Guardian’s Hamilton Nolan on New York City’s Hudson Yards, the biggest private real estate development in US history (spoiler alert: he HATES it).

But let it not be said that Hudson Yards does not promote the arts. It will be centered around “The Vessel”, a 15-story high answer to the question: “How much money could a rich man waste building a climbable version of an MC Escher drawing?” (The answer is $200m.)

And Finally

“Thank you my life long afternoon/late in this spring that has no age”

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view of Jeffrey Gibson: Like a Hammer at Seattle Art Museum, 2019, photo: Stephanie Fink
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Muse/News: Art springs eternal, dancing in bronze, and a 13/10 museum

SAM News

Spring arts previews blossom! The annual New York Times special Museums section is out; Jeffrey Gibson: Like a Hammer is featured in the recommended exhibitions listings.

The show is also highlighted in the visual arts listings—along with six other SAM shows—of The Stranger’s Arts & Performance Quarterly; head to the last page for their recurring feature, “Anatomy Of,” this time offering “A Guided Tour of a Punching Bag That an Indigenous Sculptor Turned into Art.”

And be sure to grab a copy of this week’s Real Change, with American History (JB) in all its glory on the cover and Lisa Edge’s review inside, in which she calls the show “mesmeric from start to finish.”

Watch Tasia Endo, SAM’s Manager of Interpretive Technology, take part in the recent conversation, “Tech Has Changed Seattle. Now What?”

Local News

KUOW’s Marcie Sillman answers the question: What’s the story behind those bronze dance steps on Capitol Hill?

Crosscut’s Brangien Davis on Degenerate Art Ensemble’s “most personal performance yet,” which played last week at Erickson Theatre.

The Stranger’s Jasmyne Keimig previews Regeneración | Rebirth at Vermillion Art Gallery, the first in a series of three shows done in conjunction with yəhaw̓.

“A tribute to spring—flowers in bloom, longer days, warmth—and all that it represents: regeneration, rebirth and renewal.”

Inter/National News

Also of note in the New York Times Museums section: Alex V. Cipolle’s look at Crow’s Shadow Institute of the Arts (C.S.I.A), the only professional print house on an Indian reservation in the United States. Rick Bartow, Marie Watt, Jeffrey Gibson, and Wendy Red Star have all been residents of its program, and 2018 Betty Bowen Award-winner Natalie Ball is a resident this year.

And here’s Robin Pogrebin on different ways that institutions are handling overcrowded collections; take the quiz to see if you can make tough choices on artworks, as did the Indianapolis Museum of Art.

Artnet’s Naomi Rea on how “experience” as a marketing buzzword has infiltrated the museum world.

If “legacy cultural organizations” want to grow their audiences, they need to adapt and transform to meet their needs. “If arts organizations can leverage that new understanding in a way authentic to them and on-mission and without abandoning their core purpose,” she says, “all audiences benefit.”

And Finally

It’s a good museum, Brent.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Jeffrey Gibson: Like a Hammer at Seattle Art Museum, 2019, photo: Natali Wiseman
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Muse/News: Jeffrey Gibson’s iconic forms, Tschabalala Self’s avatars, and a maybe-Caravaggio

SAM News

Reviews for Jeffrey Gibson: Like a Hammer continue to hit! The Seattle Times, GRAY Magazine, KEXP’s Sound and Vision, UW Daily, The Spectator, and family blog An Emerald City Life all wrote up the exhibition. What they’re saying:

“Rather than offering an evolutionary tour of style, the exhibition exudes a feeling: a bold, fluid simultaneity, grounded in striking pattern, color and craftsmanship and provocative references to music, personal stories and indigenous practices.” – Gayle Clemans

“Personal, brilliantly hybridized, and seriously eye-catching.” – Blake Peterson

“It’s the type of honest, colorful, modern and inclusive art that speaks to your heart and I really want my kids to see it.” – Terumi Pong

In honor of his 50th anniversary at SAM, UW grad and SAM Films curator Greg Olson is the cover story of the alumni magazine Columns, with a profile by Sheila Farr and a photospread worthy of the big screen.

Artist Jacolby Satterwhite created an animation sequence for Solange’s film that accompanies her new album; Complex speaks with the artist, whose Country Ball 1989-2012 is now on view at SAM.

Local News

Crosscut’s Agueda Pacheco Flores spoke with students who learned yesterday that their school, The Art Institute of Seattle, would be permanently shut down—today.

The Stranger has a round-up of 15 Pioneer Square gallery shows to see this month, including Mary Coss at METHOD and Ryna Frankel at 4Culture.

Hyperallergic’s Jasmine Jamillah Mahmoud spoke with artist Tschabalala Self about her Frye Art Museum show and her avatars of Black womanhood.

“You can choose your identity through an avatar. This freedom is power. This freedom subverts subjectivity and allows an individual to escape the cultural attitudes they are subject to.”

Inter/National News

Artsy shares the news that the arts and cultural sector contributed over $763.6 billion to the American economy in 2015, making the case for the economic impact of the arts.

Hyperallergic shares the 43 extraordinary nominees for the 2019 World Press Photo Contest, including Finbarr O’Reilly’s “Dakar Fashion” and John Moore’s “Crying Girl on the Border.”

Unveiled in London this week: a 17th-century canvas of Judith and Holofernes that may be a Caravaggio—but there is no consensus among experts. The New York Times’ Scott Reyburn zooms in on the details.

“It’s perhaps not what an auctioneer—or a billionaire collector—wants to hear about a painting valued at more than 100 million. The market demands that geniuses like Caravaggio work alone.”

And Finally

Nothing made me happier last week than Alston’s singing mice.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Jeffrey Gibson: Like a Hammer at Seattle Art Museum, 2019, photo: Natali Wiseman.
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Get to Know SAM’s New American Art Curator, Theresa!

Give a warm SAM welcome to Dr. Theresa Papanikolas who joined SAM’s staff last month as our new Ann M. Barwick Curator of American Art. Theresa is an expert in 20th-century American art who will oversee the development, research, presentation, and care of SAM’s collection of American art and connect it to the contemporary moment. “We’re thrilled that Theresa has joined us,” says Kimerly Rorschach, Illsley Ball Nordstrom Director and CEO. “She’s an inspired curator who will continue to build on the wonderful American art program started in 2004 by Patricia Junker.”

Theresa comes to SAM from the Honolulu Museum of Art, where she served as Deputy Director of Art and Programs and Curator of European and American Art. She previously held positions at the Los Angeles County Museum of Art; National Gallery of Art; Rice University; and the Museum of Fine Arts, Houston. We asked her a few questions so you can learn a little more about what she has planned for SAM’s American art collection in the near future!

SAM: What are your first impressions of Seattle?

Theresa: Well, I got here in December, late at night, although it might have been at about 5 pm. The thing that struck me the most is how early it got dark in the middle of December. I thought I would really struggle with that, but it was no problem. I find Seattle to be such a warm and welcoming city and I’m just so happy to be here.

What has your experience of the art community been so far?

I’ve just started to explore it. I’ve found the immediate community around the museum to be highly professional and very engaged in what’s going on in the world, the art world, and Seattle. Everyone, from the curators to the support staff, is here because they love the museum and they support art. That, to me, has been very energizing. The larger art scene—I’m just starting to get a handle on it.

What do you have planned coming up at SAM?

Right now, I am working on an exhibition that will focus on and celebrate the recent acquisition of Georgia O’Keeffe’s Music – Pink and Blue No. 1, a gift from Barney Ebsworth. One of my long-range plans is to reinstall the gallery of American art to tell the story of American art in a way that seems relevant to a contemporary audience and reflects a diverse and multifaceted America.

Tell us about the Georgia O’Keeffe installation!

It’s scheduled for spring 2020. It will be a small show, about 20 works that will look at a moment in O’Keeffe’s early career where she was practicing abstraction rather than flower and desert scenes. I think visitors will find it interesting that she practiced abstraction. This installation will include pretty significant loans.

You’ve focused on O’Keeffe in the past, can you talk a little more about that?

I have done two O’Keeffe exhibitions that reflect time she spent in Hawaii. The Honolulu Museum of Art, where I previously worked, has five O’Keeffe paintings that were all painted in Hawaii. She went there on commission from an advertising firm to do pictures for Dole pineapple juice ads. I was told that she hated Hawaii and was there for only a short period and couldn’t wait to go back to New York. But looking at the pictures, I could not believe that she did not like Hawaii. In the short time she was there she made a connection with the landscape and the things she saw and discovered there. So, I decided to do an exhibition of her work in Hawaii. I was also looking for major artists to show in Honolulu to drive audiences for the museum, and I found out that Ansel Adams had also gone to Hawaii, 20 years after O’Keeffe. He and O’Keeffe were friends. So, I  organized a show of these two artists, both of whom relate to specific places in their work—O’Keeffe with New Mexico and Adams with California and the Southwest—to see what happens when they find themselves in an environment with which they are not familiar, to explore how they developed a sense of place with their work. The show was called Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures. It opened at the museum in 2013 and it traveled to the Georgia O’Keeffe Museum. A few years later, I was guest curator for Georgia O’Keeffe: Visions of Hawaii for the New York Botanical Garden. In the installation at SAM, I’m excited to focus on an earlier moment in O’Keeffe’s life.

Let’s talk about the collection a little bit.

I’m really looking forward to looking more deeply into the American art collection. I was familiar with SAM’s collection from afar in Honolulu and it has a lot of gems and potential for growth. There are several collectors in town that are dedicated to American art. That’s part of what the reinstall of the collection is—find what is out there, in term of SAM’s collection and local collections, and put together something that speaks to Seattle, American art, and the museum.

Walking around the the American art galleries, is there anything that has jumped out at you?

Certainly Albert Bierstadt’s Puget Sound on the Pacific Coast. It’s just so romantic and big and dramatic. It sucks you in and is obviously a popular piece. I want to build a show around it. It is particularly interesting that the piece tries to evoke a sense of place even though the artist did not visit the location. So, I’ve been thinking about a 19th-century landscape exhibition. One thing that really strikes me about the gallery is the disconnect, the clear separation between the 19th century and the modernist galleries. I have been trying to think about ways to bridge that connection and create more continuity in the chronology of American art.

As an art lover, what else are you excited for at SAM?

I am thrilled about Jeffrey Gibson: Like a Hammer. The way Jeffrey’s work treads on all these different areas: identities, communities, is very interesting to me.

Is there anything else that you want to share? Your new favorite restaurant or…?

Well, I will say that I have been having fun building a wardrobe from scratch. It’s a very different mode of dress in Hawaii—we don’t even wear coats. I live in First Hill so I’m so close to everything and walkability is great. I haven’t had to drive my car once in the two months that I’ve been here!

Photo: Natali Wiseman
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Muse/News: Manyness at SAM, nuclear paintings, and the Whitney list

SAM News

Jeffrey Gibson: Like a Hammer is now on view! The Seattle Times featured photos from opening events in their print edition, and Seattle Met, The Stranger, Crosscut, Seattle Gay Scene, and new-to-Seattle art blog The Eye all wrote up the exhibition. What they’re saying:

“Like a Hammer has a manyness, a simultaneous quality that instead of diffusing into some fractured postmodern identity coheres into something singular.” –Stefan Milne

“His practice is largely informed by the ‘in-betweenness’ of the fixed points of identity. And there it blossoms.” –Jasmyne Keimig

“The artist has created a kind of gumbo of new associations, igniting things as disparate as old song lyrics and ab-ex white-boy modernism and indigenous craft with the most vital and urgent of sensations.” –Casey Arguelles Gregory

Seattle Met has their eye on another SAM show, highlighting the upcoming Gentleman Warrior: Art of the Samurai as one of “14 Seattle Events to Catch This Spring”.

Carrie Dedon, SAM’s Assistant Curator of Modern & Contemporary Art, contributed her thoughts on painter Sam Gilliam to this Artsy editorial in honor of Black History Month looking at “The Most Influential Living African-American Artists.”

Local News

Crosscut’s David Kroman and Dorothy Edwards follow Doug Latta during his last delivery of the Seattle Weekly; the paper announced this week that after 40 years, it will cease publication.

Special to the Seattle Times, Becs Richards sits down with Jody Kuehner, AKA Cherdonna Shinatra, to discuss her show DITCH, now on view—with daily performances!—at the Frye Art Museum.

The Stranger’s Jasmyne Keimig reviews Nikita Ares’ solo show of “so-bright-they’re-nuclear” paintings in Sugar Babies Only, now on view at Specialist Gallery.

“Bright, vivid, frenetic hues take precedence above all in her paintings, the oiliness of the pastels are rich, creamy, and dirty. They give off their own heat, resembling the energy she puts into it. There’s no tedium to it nor perfection, just like her.”

Inter/National News

Here’s one more celebration for Black History Month: Hyperallergic’s Jasmine Weber asks seven notable arts figures to name Black artists overlooked by the canon who they cherish.

This year’s Venice Biennale will host Ghana’s first national pavilion. It’s designed by celebrated architect David Adjaye and will feature work by John Akomfrah, El Anatsui, and Lynette Yiadom-Boakye.

The 75 participating artists in this year’s Whitney Biennial were announced this week; the list includes Jeffrey Gibson and Disguise artist Brendan Fernandes.

“To its curators, the 2019 biennial feels very much like a product of its time, with artists ‘grappling with questions about race, gender, financial inequality, gentrification, the vulnerability of the body,’ said Ms. Panetta. But she added that the work in the show mostly strikes a tone that’s less ‘agitprop-like or angry’ than one might expect in 2019. ‘It’s really work that feels more productive, forward looking, with a kind of optimistic and hopeful tenor to it.’”

And Finally

Alert: The Prince Estate has released a library of Prince GIFs. You’re welcome.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Jeffrey Gibson: Like a Hammer at Seattle Art Museum, 2019, photo: Natali Wiseman.
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Muse/News: The hammer hits, post-analog art, and fun at Frieze Los Angeles

Jeffrey Gibson: Like a Hammer opens this Thursday! Seattle Magazine features the exhibition as part of their spring arts preview; the story also appears in the March print edition.

“The resulting collection is a riot of color and texture that playfully draws the viewer into a world—the experience of another human being—impossible to ever fully know, but commanding one’s full consideration anyhow.”

Nancy Guppy included Like a Hammer and the community celebration on Thursday in this New Day NW segment highlighting local arts happenings.

Fashion: Turn to the left! SAM’s own Priya Frank and David Rue are both one of “7 Seattleites in outfits that say something” in this KUOW piece by Marcie Sillman and Megan Farmer.

Local News

How’d your Oscar ballot turn out? Add to your Oscar trivia with Brangien Davis of Crosscut’s story on Margaret Herrick, a former librarian in Yakima who ended up becoming the first female executive director of the Academy of Motion Picture Arts and Sciences.

Special to the Seattle Times, here’s Gayle Clemans on the importance of artist residencies in an inequitable Seattle; she visits Mount Analogue and the Jacob Lawrence Gallery.

The Stranger’s Jasmyne Keimig also explored the residency project Ultra Light Beams at Mount Analogue, noting that the work in the show “falls loosely within the genre of post-analog art.”

“Each artist presented here grapples with this meeting of the human hand and technology as we understand it today.”

Inter/National News

Allison Meier for Hyperallergic on Tamiko Thiel’s Unexpected Growth, now on view at the Whitney; in it, the artist continues her groundbreaking AR work, an example of which appeared at the Olympic Sculpture Park in 2016.

Artnet shares the findings of a report on fundraising in the arts that included some encouraging news: average individual contributions rose each year from 2014 to 2017.

The New York Times’ Jori Finkel visits the inaugural edition of Frieze Los Angeles, as well as the new Felix LA art fair; for those who missed it, Graham Walzer took lots of great photos, too.

“’I don’t ever remember Frieze New York actually being fun — and this was,’ he said. ‘My sense is this will be the first of many Frieze fairs out here.’”

And Finally

This one goes out to all my fellow southpaws.

– Rachel Eggers, SAM Manager of Public Relations

Image: CAN’T TAKE MY EYES OFF OF YOU, 2015, Jeffrey Gibson, Mississippi Band of Choctaw Indians/Cherokee, b. 1972, high fire glazed ceramic, repurposed tipi poles, wool, acrylic paint, wool blanket, glass beads, artificial sinew, copper jingles, and nylon fringe, 72 × 29 × 38 in., Collection of Vicki and Kent Logan, image courtesy of Jeffrey Gibson Studio and Roberts Projects, Los Angeles, California, photo: Peter Mauney.
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Muse/News: Melancholy smiles, love letters to dance, and Swizz Beatz’s art collection

SAM News

Last week, SAM announced the launch of the public phase of a $150 million campaign to support all aspects of the museum’s mission. To date, the campaign has raised more than $125 million towards its goals. Artnet and Patch.com shared the news.

Armon Mahdavi of UW Daily with a lovely look at The Magic Lantern of Ingmar Bergman, the museum’s centennial celebration of the legendary Swedish writer-director, curated by Greg Olson, SAM’s Manager of Film Programs.

“Olson was seated near me during the showing, and after the film finished, we exchanged glances. ‘I hope we’ll all be alright in the end,’ he said to me with a melancholic smile.”

Local News

The Jacob Lawrence Gallery at the University of Washington is celebrating its 25th anniversary. Crosscut’s Mason Bryan speaks with Michael Spafford, Barbara Earl Thomas, C. Davida Ingram, and others about the artist’s legacy.

Crosscut’s Aileen Imperial with another great video story, this time featuring six local dancers—including David Rue, SAM’s Public Engagement Associate—performing love letters to their art form.

Bones! Feathers! Forklifts! Brendan Kiley of the Seattle Times gets a behind-the-scenes look as the team at the Burke Museum of Natural History and Culture move their collection into its new “inside-out” digs.

“The coolest thing I found? I don’t want to admit it,” he said. “Mostly evidence of my co-workers from decades ago—someone had been sitting at a desk, smoking while working on specimens, and used one of the shells for an ashtray! They should give it a label: ‘archaeological tool used by museum employee 30 years ago.’”

Inter/National News

Andy Battaglia of ARTnews on the (very sad) news that gallerist Mariane Ibrahim is closing her Seattle space and moving to Chicago. Pam McClusky, SAM’s Curator of African and Oceanic Art, spoke with Andy, noting that “She couldn’t be a more distinctive catalyst for international art.”

Artnet’s Henri Neuendorf reports on the reaction from the arts community to the big news that Amazon has abandoned plans to establish an HQ in New York City.

M.H. Miller of the New York Times Style Magazine profiles producer Swizz Beatz on how he created interest in contemporary art in the hip-hop world—and how he is bringing change to the art market itself.

“Over the past 20 years, he and his wife have built one of the great American collections of contemporary art, and he has quietly become one of the art world’s most important power brokers, a singular advocate for artists in an industry that often exploits creativity for the sake of the bottom line.”

And Finally

Parkland survivors, one year later.

– Rachel Eggers, SAM Manager of Public Relations

Photo: Jen Au
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Muse/News: Porcelain secrets, lost speech, and an art-world skewering

SAM News

Sammy the Camel headed out on a sunny Tuesday to sell copies of Real Change as part of the paper’s #VendorWeek celebrations.

Sammy got tips from vendor Darrell Wrenn, an autograph from Stone Gossard, hugs from a friend, and some civic conversation with Governor Jay Inslee (that was totally random! We just ran into him!).

The Stranger’s Jasmyne Keimig takes on Taking Tea and “porcelain’s deadly secrets” in the current edition’s feature story.

“Porcelain ‘is way more robust than you initially think it is,’ the artist said the other day at the museum. ‘You can drop it and it bounces.’ That elicited nervous laughter from the staff. But Partington’s genuine appreciation for the material is clear. Taking Tea activates the space in a way never done before.”

Our upcoming exhibition, Jeffrey Gibson: Like a Hammer, is highlighted in arts previews from Seattle Met, The Stranger, and ParentMap.

Local News

Newsletters are the new podcasts: Crosscut launches their arts & culture newsletter, highlighting Cherdonna Shinatra at the Frye, Aaron Dixon at NAAM, and more.

But videos are still going strong: Crosscut also shares their complete 4-part series featuring Susie Lee and four elements of art: clay, water, glass, and light.

And sometimes videos play on a thing called “broadcast TV.” Here’s the latest episode of Seattle Channel’s ArtZone, featuring Quenton Baker, Tres Leches, and a remembrance of Robert C. Jones.

“The aim of this project was to locate a kind of lost speech.”

Inter/National News

First The Square, now Velvet Buzzsaw: The art world is once again skewered on film. (Mostly this is an excuse to share this video of the film’s director hilariously skewering a word.)

A painting by Elisabeth-Louise Vigée Le Brun sold at Sotheby’s for $7.18 million, making it “the most expensive painting by a pre-modern era female artist ever sold at auction.”

One of my favorite recent pieces of cultural writing: The New York Times’ Wesley Morris on “racial reconciliation fantasies” such as Driving Miss Daisy and Green Book.

“Not knowing what these movies were ‘about’ didn’t mean it wasn’t clear what they were about. They symbolize a style of American storytelling in which the wheels of interracial friendship are greased by employment, in which prolonged exposure to the black half of the duo enhances the humanity of his white, frequently racist counterpart.”

 And Finally

The polar vortex comes for Anish Kapoor’s Cloud Gate

– Rachel Eggers, SAM Manager of Public Relations

Photo: Rachel Eggers.
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New Design Brings History to Light: Seattle Asian Art Museum

One of the most important sources of design inspiration for the Seattle Asian Art Museum’s renovations is the incredible place where it resides: Volunteer Park. It’s been more than 100 years since John Charles Olmsted conceived of Volunteer Park’s design. Yet, it continues to be the city’s most intensely used park—and an essential consideration within the museum’s renovation project that has involved input from national, city, and community groups that include Friends of Seattle’s Olmsted Parks, the National Park Service, Seattle Parks & Recreation, and Volunteer Park Trust.

“We took a lot of cues from the Olmsted plan and their design intent, their aesthetic and some of the principles they brought to planning all of the trails and pathways within this park,” explains Chris Jones, principal at Walker Macy, the firm overseeing the renovated landscape design. He continues, “In lieu of putting in plazas around the museum, we’re grading the landscape in a way that maintains the recreation that occurs onsite, really supporting the character of the park as the Olmsteds would, emphasizing a nice pastoral landscape with open lawn and trees.”

In addition to their importance within the pastoral aesthetic, trees intersect with the design process in another way. The design team has been working with the guidance of an onsite arborist, who has been integral to the renovation processes by making recommendations for construction methods and identifying important root areas to avoid, in order to best support the trees’ health.

 

The pathways surrounding the museum are also central to the Asian Art Museum’s landscape renovation plan. This includes creating safer traffic circulation around the museum, constructing a more direct connection between the museum and public transit on 15th Avenue, and improving accessibility to the museum. The plan also realizes two pathways that were in Olmsted’s original plan for Volunteer Park but were never fully established, an element that was developed in response to community groups’ input on the design. Jones says, “The intent was to provide each park-goer with an improvement that’s visible on a daily basis . . . I think we achieved that by coming to a really happy consensus that reflects the input from the community.”

In the months ahead, we will continue exploring the future of the Asian Art Museum as the renovations progress towards the much-anticipated re-opening in 2019.

– Erin Langner, freelance writer

Images: Photo: Eduardo Calderon. Photo: Natali Wiseman.
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