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Muse/News: Protest art, citizen journalists, and radical quilts

SAM News

Brangien Davis of Crosscut reflects on art that protests and protest art, highlighting an 8-bit video game created by The Black Tones, Barbara Earl Thomas’s intricate paper cuts (to be featured in an upcoming show at SAM), and a “speculative fiction” press release imagining if SAM dissolved (which was erroneously published).

“Some art that erupts during social upheaval is momentary, some persists in minds and hearts, whether a poster, a painting, a flag, a fist or maybe even a video game.”

Local News

Jasmyne Keimig of the Stranger continues to cover both the action and the art around the Capitol Hill Organized Protest (CHOP); this week, she notes that “The Bathrooms at Cal Anderson Park Look Sick” after a recent paint job by two volunteers.

The Seattle Times features a comic from Lyla Dalnekoff, the 11-year-old creator of drawingthroughit.com. She explores our “new normal” and asks “what are you most excited to do once coronavirus pandemic restrictions are lifted?”

Crosscut’s Agueda Pacheco Flores and Margo Vansynghel interview Omari Salisbury, Tessa Hulls, and Ulysses Curr, three citizen journalists who have been documenting CHOP. With portraits by Dorothy Edwards.

“Hulls says she prefers to see herself as a ‘bullhorn,’ amplifying the voices and stories that larger media outlets or reporters who don’t cover the protests from the ground might miss.”

Inter/National News

This week, opinion pieces by arts and culture leaders from around the country:

Yesomi Umolu of the Reva and David Logan Center for the Arts at the University of Chicago outlines “15 Points Museums Must Understand to Dismantle Structural Injustice.”

Darren Walker, president of the Ford Foundation, asks, “Are you willing to give up your privilege?”

Dr. Kelli Morgan, a critical-race and cultural historian, addresses the expressions of white supremacy she sees in the museum field.

“If we are to eschew this exclusionary culture in American art and its institutions, it is imperative that we change the value system upon which both our art museums and our art history is founded.”

And Finally

Wrap yourself in the radical quilts of Rosie Lee Tompkins.

Rachel Eggers, SAM Associate Director of Public Relations

My Favorite Things: Barbara Earl Thomas on Georges de La Tour

“I just like the idea of the fact that light can be the subject.”

– Barbara Earl Thomas

Hear from Seattle-based powerhouse Barbara Earl Thomas as she shares the experience of seeing Saint Sebastion Tended by Saint Irene at SAM. More than seeing, Thomas encourages you to listen to the painting, to notice the quiet of the moment being painted.

Georges de La Tour is often mentioned as one of the many followers of Caravaggio (ca. 1571–1610), the Italian artist who pioneered the use of strong contrasts of light and dark to heighten the drama and religious feeling in his paintings. Though De La Tour probably never saw a work by Caravaggio, the innovative style spread across Europe, and the French artist first introduced his own version of “tenebrism” in this depiction of a nocturnal scene of deliverance. It was such a popular image that no fewer than a dozen other versions exist. The original painting is probably lost; this example is one of the best of the other versions, and some scholars believe it came directly from his studio and may have had his direct participation.

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

Artwork: “Saint Sebastian Tended by Saint Irene,” Georges de La Tour, oil on canvas, 42 x 55 7/8 in., Gift of Richard and Elizabeth Hedreen in honor of Mimi Gardner Gates, 2008.67.

Object of the Week: In Case of Fire

In Case of Fire is striking. Disorienting and surreal, the black-and-white landscape unfurls into the supernatural. A tree is anchored in a sea storm, a larger-than-life chicken is perched on the remains of a sinking home, animals and human figures are scattered against scenes of disaster.

Just as the flames and embers of fire possess movement, this linocut—a print carved onto linoleum block—captures the turbulent motion of winds, hills, and water swirling in waves across the surface. This fantastical presentation is of an apocalypse. Yet, despite the chaotic and apocalyptic imagery, In Case of Fire feels intuitively familiar. The fragmented images are contained in a single frame, and recall the nature of dreams with their strangely linear order of otherwise disconnected events and forms. Fishing and work-a-day motifs reflect the roles of labor and personal memory.

Seattle-based artist Barbara Earl Thomas is a storyteller. Though born and raised in the Pacific Northwest, Thomas remains deeply connected to her Southern roots: Thomas’s parents had “left behind family and friends and a history rooted in slavery and sharecropping to take up 1940s war jobs.”[1] As an art student at the University of Washington, Thomas studied under Jacob Lawrence, who remained her close mentor and friend until his passing in 2000.

The composition and dramatic scope of In Case of Fire is inspired by folklore, myths, Biblical tales, and magical realism, drawing on the storytelling traditions passed through generations in Black history. An active figure in writing, arts administration, and public art commissions, Thomas maintains a social responsibility in her artwork. She invokes issues of inequity and injustice across communities and writes, “It is the chaos of living and the grief of our time that compels me, philosophically, emotionally, and artistically. I am a witness and a chronicler: I create stories from the apocalypse we live in now and narrate how life goes on in midst of the chaos.”[2]

Rachel Kim, SAM Curatorial Intern

[1]Upchurch, Michael. “Barbara Earl Thomas’ Linocuts Blend the Surreal with the Lyrical.” The Seattle Times, Apr. 12, 2013. https://www.seattletimes.com/entertainment/barbara-earl-thomasrsquo-linocuts-blend-the-surreal-with-the-lyrical/
[2] “Barbara Earl Thomas.” Claire Oliver Gallery. https://www.claireoliver.com/artists/barbara-earl-thomas/
Image: In Case of Fire, 2014, Barbara Earl Thomas, linocut, 24 × 36 in., Modern Art Acquisition Fund; Gift of John D. McLauchlan in memory of his wife, Ebba Rapp, by exchange, 2017.14.2. © Artist or Artist’s Estate