All posts in “SAM’s Collection”

Welcome Home, Ancestral Modern!

Ancestral Modern: Australian Aboriginal Art from the Kaplan-Levi Collection recently concluded a tour to four museums where it opened thousands of eyes to the visionary innovations of a new chapter of art history. When this exhibition first opened in 2012 in Seattle, one critic described it as:

National and international visitors came to Seattle and paid attention to this gathering of art which led to a connection with the American Federation for the Arts through their board member, Kimerley Rorchach. The AFA took on the responsibility for finding other museums and organizing the logistics for traveling the exhibition. During three years, it was seen at the Frist Center for the Arts in Nashville, the Chazen Art Museum in Madison, the Blanton Museum of Art in Austin, and the Audain Museum in Whistler. 

Amazingly enough, the entrance to the exhibition often focused on a painting that has the startling quality of a stop sign, by painter Ngilpirr Spider Snell, who is warning you not to get too close to a sacred body of water that is being guarded by a snake. 

That warning leads into looking at dots, mazes and linear patterns that may not always be what they seem. In Australian Aboriginal art, dots can trace the journey of a creative ancestor.

Or dots can punish a boy who has stolen an emu’s heart by turning him into a colorful whirlwind

A maze can be a map of an artist’s homeland filled with sandhills.

And linear dashes of paint may conjure up leaves full of medicinal strength blown across a windswept desert. 

This art constantly offers many new visual experiences—peering underground to see yams grow; trekking over vast salt lakes; following the trail of a blue-tongued lizard or encountering a lightning-spitting serpent in swirling water. It is endowed with the vision of the world’s oldest living cultures whose artists have ushered in an indigenous renaissance since the 1970s. They focus our attention on the remarkable continent these communities have managed for centuries.    

At each venue, the exhibition was accompanied by texts written by SAM, and designers put the art in interpretive themes also established by SAM.  Throughout the tour, the couple whose collection was being featured made their way to the openings to speak with the press, educators, staffs, and members of each museum. Thanks to Robert Kaplan and Margaret Levi for making this extraordinary tour possible, and to all the artists whose creativity continues to challenge our eyes to adjust to what they consider significant. 

– Pam McClusky, Curator of African and Oceanic Art

Images: Installation view of Ancestral Modern: Australian Aboriginal Art from the Kaplan-Levi Collection, Seattle Art Museum, 2012, photo: Nathaniel Wilson. Kurtal, 2005, Ngilperr Ngalyaku Spider Snell, © 2011 Artists Rights Society (ARS), New York / VISCOPY, Australia. Mountain Devil Lizard Dreaming (detail), 1996, Kathleen Petyarre, © Kathleen Petyarre. Walu (detail), 2008, Tommy Mitchell, © Tommy Mitchell. Yunarla (detail), 2010, Yukultji Napangati, © 2011 Artists Rights Society (ARS), New York / VISCOPY, Australia. Leaves (detail), 2002, Gloria Tamerr Petyarre, © 2011 Artists Rights Society (ARS), New York / VISCOPY, Australia, photo: Paul Macapia. Audain Art Museum, Whistler, BC, Canada, photo: Pamela McClusky. Audain Art Museum opening with Bob Kaplan and Margaret Levi, and Director, Curtis Collins.
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Docents Defined: David Turner

Do you love art and can’t wait to spend loads of time in the Seattle Asian Art Museum when it reopens? We’ve got the volunteer position for you! SAM is recruiting new docents to start training to lead tours of the newly installed galleries and you have until May 31 to apply.

Our docents have a wide range of interests and background. Take David, for instance—he started volunteering to lead tours to get more involved in the arts community and his favorite artwork in the museum changes with every tour! Want to learn more about being a docent? Join SAM staff and current docents at our Docent Open House on May 16, 2019 from 6–7 pm

SAM: Tell us about yourself. Why did you decide to become a docent?

David: It was a way for me to get to be connected with the community when I came to Seattle.

What’s the best part about being leading school tours?

The exposure to the art and interacting with kids. One visit to a museum is never enough to get to understand or enjoy something. My joy in being in the museum comes from close contact with art over a period of time. It’s more meaningful when I can try to engage a group of kids or even adults in responding to an artwork. It’s a challenge, but it’s really a pleasure.

What’s your favorite work of art at SAM?

That changes every tour. I tell every group I take into the galleries, “I’m going to take you to see my favorite piece.” I want to express to kids, and everyone else on my tours, that I have regard for the work. Yesterday, my favorite piece was Market Scene by Paul Bril.

What’s your most memorable touring experience?

The emotional response to Marie Watt’s Blanket Stories: Three Sisters, Four Pelts, Sky Woman, Cousin Rose, and All My Relations in the Northwest Coast galleries. My take on it has always been that every blanket has a story and Blanket Stories encapsulates the stories of the people who created the materials in the piece. I ask viewers if they have a blanket story and it’s always very moving. It’s a very meaningful moment when they see it’s not just about a blanket, but that this is a collection of human beings’ lives.

What advice do you have for people interested in the docent program?

Be yourself. That’s it! A mistake that’s easy to make is to think that there’s a canned presentation that you’re going to give. Those are not the most interesting tours by any means. When docents have internalized a piece, it makes a big difference in the way the audience that you’re speaking to reacts.

– Yaoyao Liu, Seattle Asian Art Museum Educator

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Muse/News: Pie art, Seattle style, and obvious plants

SAM News

Lauren Ko creates stunning pie art on her @lokokitchen Instagram—check out the pie she made inspired by SAM’s show! There’s more details here. Get yourself to SAM: Jeffrey Gibson: Like a Hammer closes this Sunday, May 12!

Ring in wedding season—you know you love it!—with this Seattle Bride look at a beautiful wedding at the Olympic Sculpture Park. Aww.

Local News

The Seattle Times’ Moira Macdonald takes a look at the new fashion exhibit at MOHAI on—yes, really—Seattle style.

Watch the Seattle Channel’s CityStream story about the forthcoming return of the historic Louisa Hotel, including the fate of their rediscovered Prohibition-era murals.

Seattle Magazine’s Gavin Borchert and Gwendolyn Elliott on Amazon’s internal creative program, Expressions, which gives employees opportunities to get creative.

“Reverberating beyond the badge-required halls of Amazonia is a bigger conversation about the company’s contributions—or lack thereof—to Seattle’s creative community as a whole, considering how much it’s altered the city’s physical and cultural footprint.”

Inter/National News

John Grade does it again: Check out this stunning installation by the artist set in a clearing of an Italian forest, which turns rainwater into the droplets of a natural chandelier.

An appreciation for the “guardian of Black cinema” by the New Yorker’s Doreen St. Felix of the director John Singleton, who passed away this week at the age of 51.

Artnet’s Melissa Smith talks with Black artists about the paradigm shift of increased interest in their work—and the attendant pressures, including stress, burnout, and exploitation.

“Navigating the limited existing roles for [black artists] is exhausting, and never-ending,” Jemison says. “And black artists are very aware that being selected is super arbitrary and predicated on partial understanding of the work.”

And Finally

All Alone Bert. Pre-Cracked Egg. Funeral Kazoo. They’re all an Obvious Plant.

– Rachel Eggers, SAM Manager of Public Relations

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My Favorite Things: Marc Onetto on “Shipwreck off the Coast of Alaska” at Seattle Art Museum

“This painting is in fact very good when you think about the fact that the painter only had a sketch from the logbook and some description. He had never seen it.”
– Marc Onetto

Take it from a sailor who has been to Lituya Bay—Louis-Philippe Crépin accurately captured the setting of this expedition disaster in his painting, Shipwreck off the Coast of Alaska. Born in Paris, Crépin became a specialist in marine painting and made his debut at the Salon of 1796 with a painting of the port of Brest. His primary patron throughout his long career would be the Naval Ministry of the government. Many of his works are in the National Maritime Museum in Paris, while others are in provincial museums throughout France. This work is likely the first painting by Crépin in an American museum.

Marc Onetto sails to Alaska annually. After finding a publication of explorer Count Jean-François de La Pérouse’s logbook in California, Onetto was inspired to visit Lituya Bay, among other uncharted Alaskan territories where La Pérouse’s expedition traveled in 1786. Thankfully Onetto has not encountered the early morning ebbing current in the pass of the bay that led to the tragic death of 21 sailors in a matter of minutes. Experience the drama of this painting in person when you see it hanging in Extreme Nature: Two Landscape Paintings from the Age of Enlightenment on view through December 9, 2018.

Want to know more about this painting and how it came into SAM’s collection? Read “The Ins and Outs of Acquisitions: A Newly Discovered french Masterpiece.” 

Subscribe to our My Favorite Things playlist on YouTube for more interviews featuring artists, innovators, specialists, and community leaders.

Artwork: Shipwreck Off the Coast of Alaska, 1806, Louis-Philippe Crepin, French, 1772-1851, oil on canvas, 40 15/16 × 58 11/16 in., Seattle Art Museum, European Art Acquisition Fund; Bill and Melinda Gates Foundation Art Acquisition Fund; by exchange Gift of Mrs. Lew V. Day in memory of her husband; Gift of Arthur F. Ederer; H. Neil Meitzler, Issaquah, Washington; Col. Philip L. Thurber Memorial; Gift of Mrs. Donald E. Frederick; The late Mr. Arrigo M. Young and Mrs. Young in memory of their son, Lieut. (j.g.) Lawrence H. Young; Phillips Morrison Memorial; Gift of Mrs. Oswald Brown, in memory of her parents Simeon and Fannie B. Leland; Gift of Miss Grace G. Denny in memory of her sister Miss Coral M. Denny; Gift of friends in memory of Frank Molitor; Purchased from funds contributed in memory of Henry H. Judson; Purchased from the bequest of Charles M. Clark; Gift of Mrs. John C. Atwood, Jr.; Norman and Amelia Davis Collection; Norman Davis Collection; Mrs. Cebert Baillargeon, in memory of her husband, 2017.15.
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Conserving SAM’s Asian Art Collection

Thanks to funding from Bank of America’s Art Conservation Project, a pair of important 17th-century Japanese screens, Scenes in and around the Capital, are currently being restored by specialists at Studio Sogendo, a private studio in California. The screens, likely created by a machi-eshi, or “town painter,” present a panoramic view of Kyoto during the Edo period. They show both Kyoto’s center and its periphery, and give insight into the daily lives of different social classes, in addition to representing seasonal festivals.

When the screens first arrived at SAM in 1975, they were already in fragile condition and by the time this conservation work began in 2017, extensive repairs were desperately needed. Painted using ink, color, and gold, and mounted on wooden frames, the screens are being restored using traditional Japanese methods and materials. I was able to visit Studio Sogendo while one of the panels had been stripped of its backings and laid on a light table, allowing a rare perspective of the materials and quality of the painting. The conservation treatment has been invaluable, not just in terms of preserving the paintings, but also in offering opportunities for examination and study. The internal frames must be replaced and expert craftsmen in Japan made new custom frames for the work. The incredibly precise joinery of the new frames can be seen in these images. The conservation phase of the project is nearing completion and the reassembly of the structure, replacement of the mount fabrics, and retouching of the areas of loss is underway.

 

This crucial project would not be possible without Bank of America’s Art Conservation Project, one of few programs dedicated to preserving historically or culturally significant artworks. We look forward to the return of Scenes in and around the Capital, which will be on view among SAM’s extensive Asian art collection when the Seattle Asian Art Museum reopens in late 2019!

– Nicholas Dorman, SAM Chief Conservator

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Object of the Week: Model Totem Pole

The black stone used for this carving by Haida artist Charles Edensaw is argillite, a carbonaceous kaolinite shale. Truly unique, this sedimentary rock is found in only one place in the world: Haida Gwaii. Formerly known as the Queen Charlotte Islands, the archipelago in British Columbia is home to this very special material and the similarly distinct Haida artistic traditions that have arisen from it. More specifically, argillite comes from the Slatechuck Mountain. And while Haida peoples have accessed the Slatechuck quarry and produced such argillite carvings for centuries, it was not until 1941 that the quarry site (measuring approximately 18 hectares) was officially designated as land belonging to the Skidegate band, assuring that access would remain theirs in perpetuity.[1]

For those who might not identify as geologists, or even amateur geologists, the slate’s black color comes from its high levels of carbon. A kaolinite shale, it is composed of clay material that has been subjected to heat and pressure over geologic time, resulting in a highly uniform and workable rock.[2] For example, it ranks at two and a half on the Moh’s scale of mineral hardness (on a scale of one to 10, with 10 being diamond-hard).[3]

Measuring 19 inches tall, this model totem pole (qwa.a gyaa.angaa) was expertly carved out of one piece of argillite. Perhaps it goes without saying, but the larger the carving, the more difficult it is to do successfully, as natural imperfections in the shale grain can result in fine fractures. Further, argillite is sensitive to its environmental surroundings, and can absorb and desorb moisture quickly; it is essential that freshly quarried argillite is slowly and carefully dried, otherwise it is prone to cracking.

Currently on view in the third floor Native Art of the Americas galleries, this piece makes clear just how skilled and masterful Edensaw was as a Haida carver. The figures on the pole from top to bottom are: a bear holding five stacked cylinders—representing a ringed basketry hat—above an eagle’s head; two human heads on either side, also wearing ringed hats; a bear, holding its tongue; and another bear, holding a seal-like figure with a fish-like tail. Though quite a lot to fit into 19 inches, compositionally, each animal and human figure bears exquisite incising and detail.

Such model poles were primarily made for commercial sale as Haida contact with Americans and Europeans increased during the 1800s. In fact, around the time that this piece was made (circa 1885), argillite carving experienced a surge in output corresponding with an exploration of new forms. As traditional Haida ceremonial objects and practices were increasingly banned by the Canadian government, new forms of creative expression thus emerged.[4] Edensaw was an important figure during this period, whose personal style influenced many other Haida artists living in Skidegate and Masset. With a deeper understanding of argillite’s geological properties, rarity, and cultural significance, this carving by Edensaw is all the more impressive.

– Elisabeth Smith, Collections Coordinator

Image: Model totem pole (qwa.a gyaa.angaa), ca. 1885, Haida, argillite, 19 x 3 x 2 3/4 in., Gift of John H. Hauberg, 91.1.129
[1] “Haida Argillite,” Simon Fraser University, Museum of Archaeology & Ethnology, accessed July 11, 2018, https://www.sfu.ca/archaeology/museum/exhibits/virtual-exhibits/haida-argillite.html.
[2] “Care of Argillite,” Government of Canada, accessed July 10, 2018, https://www.canada.ca/en/conservation-institute/services/conservation-preservation-publications/canadian-conservation-institute-notes/care-argillite.html.
[3] Peter L. Macnair and Alan L. Hoover, The Magic Leaves: A History of Argillite Carving (Victoria, B.C.: British Columbia Provincial Museum, 1984), 17.
[4] Macnair and Hoover, 113.
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My Favorite Things: C. Davida Ingram on Sonny Assu’s Breakfast Series

“I think the value of Sonny Assu’s piece, Breakfast Series in SAM’s permanent collection, has a lot to do with righting the wrongs of history.” – C. Davida Ingram

Consider the value of contemporary Native art through the perspective of Seattle-based artist, curator, educator, and writer, C. Davida Ingram. Visit SAM’s Native Arts of the Americas galleries and the Art and Life Along the Northwest Coast installation to contextualize Sonny Assu’s Native formline design elements in his representation of Tony the Tiger or the “12 essential lies and deceptions” in his box of Lucky Beads. How does your perspective on food and access to land change as you consider the serious history behind this seemingly lighthearted artwork?

Artwork: “Breakfast Series,” 2006, Sonny Assu (Gwa’gwa’da’ka), Kwakwaka’wakw, Laich-kwil-tach, Wei Wai Kai, born 1975, five boxes digitally printed with Fome-cor, 12 x 7 x 3 in. each, of 5, Gift of Rebecca and Alexander Stewart, in honor of the 75th Anniversary of the Seattle Art Museum, 2006.93, © Sonny Assu.
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Object of the Week: Dog Hedge

The teapot is a centuries-old vessel whose origins are firmly rooted in China. Features of the teapot have evolved over time, depending on the culture and period, but for the most part the vessel is a straightforward formula with certain basic elements: a spout, a handle, a lid, and, of course, a container for hot water. Tried and tested, right? Enter Peter Shire.

For decades, Los Angeles-based Shire has worked at the intersection of fine art, craft, and industrial design, experimenting with a variety of mediums and methods to produce iconic ceramic works and furniture that challenge the modernist maxim “form follows function,” first coined by American architect Louis Sullivan. The form of this ceramic teapot, titled Dog Hedge, does not immediately align with its understood function. In fact, many of Shire’s teapots (an ongoing and touchstone series in his practice), don’t pour tea properly—they are objects meant to be looked at. In the words of the artist, they are “referentially functional.”

One of the original members (and first American) of the 1980s Italian design collective Memphis Group, Shire has proven himself a master of surfaces and mimicry. Interested in the plasticity of materials such as clay, he approaches his practice with playful rigor. In this 1982 work, orange, lime green, and red geometric shapes overlap with rectilinear planes of speckled pink and blue to form a postmodern constructivist composition. The various ceramic components balance precariously, testing the limits of the teapot’s utility.

For this work, Shire found inspiration in such diverse sources as Stonehenge, aqueducts, post and beam architecture of the 1950s, the architecture of Luis Barragán, and the “anthropomorphic qualities of the [teapot’s] spout as a mouth and the lid as eyes.” In Shire’s hands, the teapot—as both an object and an idea—becomes deconstructed and reimagined on his own personal, conceptual, and architectural terms. Appearing from one angle as a dog in profile, the piece’s title also references Stonehenge—a monument whose unclear use and construction no doubt finds a parallel in Shire’s own work.

– Elisabeth Smith, Collections Coordinator

Images: Dog Hedge, 1982, Peter Shire, ceramic with glaze, 9 1/2 x 14 x 9 1/2 in., Gift of Anne Gould Hauberg, 86.138 © Artist or Artist’s Estate
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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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