All posts in “Anthony White”

Muse/News: SAM award news, the Space Needle is a she, and Dr. Seuss at the museum

SAM News

Last week, SAM announced the finalists for this year’s Betty Bowen Award: Andrea Joyce Heimer, Anthony Hudson, Adair Rutledge, Lynne Siefert, and Anthony White.

The solo exhibition of the 2018 winner, Natalie Ball, was reviewed in Art & Object.

“Subverting tropes about Native American identity and art by repurposing familiar materials, Ball points out the absurdity of our assumptions.”

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is on regal display on the cover of this week’s Real Change; inside, don’t miss Lisa Edge’s review of the installation.

“Let’s have positive images of ourselves that are done with love,” said Muholi. “Let us consume this self-love because our forefathers, our foremothers that came before us never had the opportunity to speak for themselves.”

Local News

“The Space Needle is a she.” Crosscut’s Brangien Davis on a documentary exploring the hidden history of Seattle’s iconic landmark: its shape may have been inspired by a Black dancer named Syvilla Fort.

The City’s Art Beat Blog has a recap of the recent Creative Advantage Arts Partner Summer Institute, held at SAM; this year’s theme was “exploring the local.”

The Stranger’s Jasmyne Keimig goes home to Wa Na Wari, reviewing the center’s newest show featuring work by several artists, including Nastassja Swift’s video of masked dancers.

“Swift’s video, no more than 10 minutes long, grapples with the concept of home, being home, having a home, feeling at home in one’s body and community. In that way, it fits well at Wa Na Wari. Where do we belong?

Inter/National News

Artforum reports that Werner Kramarsky passed away this week at the age of 93; a formidable collector, he donated 25 drawings to SAM over the years.

Artnet’s Ben Davis takes a look at Dia:Beacon’s new permanent gallery dedicated to Sam Gilliam and his signature “drape” paintings.

The New York Times’ Guy Trebay attends the 16th annual edition of the influential and popular International Folk Art Market, which explodes the art-world schism between fine art and craft.

“It comes out of nowhere, out of nothing,” he added. “There’s not a tradition for it. It’s just some guy saying, ‘I want to make this thing.”

And Finally

Double Dr. Seuss news: Oh, the museums you’ll go!

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of “Twinkle, Twinkle, Little Snake” at Seattle Art Museum, 2019, photo: Natali Wiseman.

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Muse/News: Supporting change, learning a city by foot, and farewells to Toni Morrison

SAM News

SAM director and CEO Kimerly Rorschach shared the museum’s position on proposed changes to Washington State’s overtime rules. These changes are long overdue, and SAM has been a leader in implementing adjustments. However, a slower ramp-up would be more sustainable for non-profits.

Local News

Marcus Harrison Green of the Seattle Times on Blood Lines, Time Lines, Red Lines, the Warren Pope solo show now on view at NAAM that explores the city’s history of racist housing policies.

“Pulling a reverse Henry David Thoreau”: Crosscut’s Brangien Davis on Seattle Walk Report, the comic that explores the magic of the city by foot. Its anonymous creator will name herself soon!

With “Currently Hanging,” The Stranger’s Jasmyne Keimig gets close to an artwork. Here, she visits a figurative gold sculpture by Casey Curran that echoes previous works by Anthony White and Tessa Hulls.

“The sculpture reminds me of The Ecstasy of Saint Teresa-meets-the-alien-from-Annihilation-meets-Rodin’s-Thinker. All things I love.”

Inter/National News

“The first Abstract Expressionist”: Who would you name? The Museum of Fine Arts Boston has a new exhibition that may answer that question.

DCist on the Phillips Collection’s new exhibition of 100 works by 75 artists on global displacement; director Klaus Ottmann calls it “the most ambitious exhibition the museum has ever undertaken.”

Author Toni Morrison died this week at the age of 88. This New York Times obituary celebrates her “luminous, incantatory prose resembling that of no other writer in English.”

“Ms. Morrison animated that reality in prose that rings with the cadences of black oral tradition. Her plots are dreamlike and nonlinear, spooling backward and forward in time as though characters bring the entire weight of history to bear on their every act.”

And Finally

Quiet As It’s Kept.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view Jeffrey Gibson: Like a Hammer, Seattle Art Museum, 2019, photo: Natali Wiseman.
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Muse/News: Perception’s doors, Anthony White’s moment, and Basquiat’s invisible ink

SAM News

Special to the Seattle Times, Sharmila Mukerjee offers this lovely review of Peacock in the Desert: The Royal Arts of Jodhpur. The exhibition closes January 21!

Peacock in the Desert is a fascinating show because it allows us to experience sensibilities that are different; what would we gain if we reopen the doors of our perception to the marvelous?”

And the Seattle Times’ Moira Macdonald writes up the inaugural Tasveer South Asian Literary Festival. SAM is a partner for the event; we’re hosting talks as well as a screening of the silent film Throw of Dice on January 13.

Local News

File under: Incredibly Good News. The Stranger has brought on Jasmyne Keimig as a staff writer, covering visual arts and music. Readers (and publicists) say amen!

Gayle Clemans for the Seattle Times, reviewing the “multimedia, multisensory” Between Bodies, now on view at the Henry Art Gallery; she also finds connections to two other shows in the region.

It’s Anthony White’s moment: The artist’s first show for Greg Kucera is now on view. Within the month, he’s been written up by The Stranger A&P, Seattle Met, Seattle Magazine, Crosscut—and then The Stranger again.

“There’s this feeling of this crazy party filled with useless excess, but also this pathos, this really understandable desire to have something meaningful and great in your life.”

Inter/National News

Same old—wait just a minute! Using a UV light, conservator Emily Macdonald-Korth discovered that Jean-Michel Basquiat hid secret drawings in his paintings using invisible ink.

Artnet looks back at their 20 favorite stories of 2018—including their in-depth look (which SAM participated in!) into how institutions have—or have not—moved the needle on showing and buying art by Black artists.

A fascinating read: The New York Times convened Souleymane Bachir Diagne, Toyin Ojih Odutola, and Cécile Fromont for a roundtable discussion about the possible restitution of African art in French collections.

“We can’t even fathom what new African museums could be, and what they could do. Look at Latin America, for example. The museological innovations there — unique types of exhibitions, involvement with the communities — challenge in all the best ways what big museums around the world have been doing. When you think about the talent and expertise born from an enriched African museum landscape: that’s exhilarating.”

And Finally

If you can resist tears while watching WeRateDogs™’s annual best-of compilation, I just don’t know what to say to you.

– Rachel Eggers, SAM Manager of Public Relations

Image: Portrait of Maharaja Ajit Singh, ca. 1830, Amardas Bhatti, Jodhpur, opaque watercolor and gold on paper, 16 7/8 × 13 1/8 in., Mehrangarh Museum Trust, photo: Neil Greentree
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