All posts in “contemporary art”

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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SAM Connects Jeffrey Gibson to Community for Free

We are excited about Jeffrey Gibson: Like a Hammer opening in just a few short days and want to make sure you know all the free and discounted ways to see this new, colorful, and exuberant exhibition!

Artist Jeffrey Gibson is of Cherokee heritage and a citizen of the Mississippi Band of Choctaw Indians. He grew up in urban settings in Germany, South Korea, the United States, and England, and his work draws on his experiences in different cultural environments. In his artwork, Gibson creates a new visual language from familiar items associated with Native powwow, such as glass beads, drums, trade blankets, and metal jingles, which are overlaid with markers of queer club culture as well as the legacies of abstract painting. The inspiration and community of dance clubs and pop music reverberate throughout his work.

Mark your calendars with these opportunities to see this visionary contemporary exhibition where powwow meets pop culture meets punching bags.

We are kicking things off on February 28 with a free Community Opening Celebration from 5–9 pm. The museum will be open late for free so that you can spend plenty of time looking at Gibson’s art in the galleries and still take in the many activities of the evening such as dance performances by Marco Farroni, music and storytelling with The G’ma Project artists Nijuana Jones and Che Sehyun, art making with local artist Philippe Hyojung Kim, and tours led by Jaimée Marsh, and Iisaaksiichaa Ross Braine—all for free!

Also on opening day, Jeffrey Gibson will be in attendance and offering a free talk and screening of new video works. Don’t risk it, reserve a free ticket for Jeffrey Gibson: Like a Hammer and Next Steps at 7 pm on Feb 28!

SAM also offers free and discounted passes to visit our special exhibitions for community organizations or colleges and universities. Find out more and fill out our form to get yours today!

First Thursdays, tickets are to see Like a Hammer are half off and the museum is open late. Swing through on March 7, April 4, or May 2.

First Fridays, seniors get half-off entry to Like a Hammer. If you’re 65+, mark your calendar for March 1, April 5, or May 3.

We’ve also go special deals for teens to pay $5 for a ticket to Like a Hammer through our partner organization TeenTix. Oh, and kids 12 and under are always free!

We also offer free entry to caregivers accompanying a visitor, employees of other museums, gold or flash card holders, and members of the press with ID. Check out our FAQ for more information and other ways to get discounts!

While we’re at it, did you know that it’s always suggested admission to visit SAM’s collection galleries? These are just a few ways SAM connects art to life!

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Toyin Ojih Odutola’s Postures: In This Imperfect Present Moment

We read each other’s body language all day, every day. In the museum, surrounded by artworks depicting a variety of figures and movements, this instinct can be put to an international test of how well we understand gestures and postures. A walk through the galleries can simulate what it’s like to be in another country, where you don’t know the verbal language and need to navigate based on reading bodies.

In the exhibition In This Imperfect Present Moment, a person’s body is telling you to stop and recognize that their moment has come, and you are a vital participant. They are ready to talk. Which language are they likely to speak? Toyin Ojih Odutola was born in Nigeria, grew up in Alabama, went to art school in San Francisco, and now lives in New York. She’s given many insightful interviews that provide a sense of the conversation you might have with her about her work. For now, here’s just one quote: “I’m attracted to the understated in art: moments that can be quickly passed over, but are complex and layered. There’s nothing wrong with bombast, and the maximalist in aesthetic and presentation, and I often exploit those very qualities. But nothing beats the underwhelming, the quiet, the subtle. When you see the economy of line used so effortlessly—that always gets me, because it isn’t easy.”

– Pam McClusky, Curator of African and Oceanic Art

Images: In This Imperfect Present Moment, 2016, Toyin Ojih Odutola, Nigerian, b. 1985, charcoal, pastel, pencil on paper, 83 x 24 in., Private collection, © Toyin Ojih Odutola, photo courtesy of the artist and Jack Shainman Gallery, New York. You are welcome, 2012, Toyin Ojih Odutola, Nigerian, b. 1985, pen, ink on paper, 11 x 11 in., Private collection, © Toyin Ojih Odutola, photo courtesy of the artist and Jack Shainman Gallery, New York.
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Athi-Patra Ruga’s Utopian Vision: In This Imperfect Present Moment

Utopian visionaries are rare these days. If Black Panther moved you to consider what might be possible in the future, there’s an artist who is opening a new portal into the world of possibilities to come and you can see their work at SAM right now as part of In This Imperfect Present Moment. Athi-Patra Ruga introduces characters from a mythical metaverse. You can see what this means in his performances, which are available online. His avatars wear high heels and balloons, ride zebras, walk down dirt roads or city streets, and occasionally swim upside down. He knows how to turn heads and get people to stare at unexpected visions. For this sculpture, he covers a neoclassical bust with beads, flowers, and gems to mock the usual stagnancy of a bronze-cast monument. He has stated that “our statues are an indictment of our poor imagination.” Calling this sculpture The Ever Promised Erection, Ruga says, “The humorous tone of the title points to the fallacy and impotence of the posturing of the nation-state.”

Ruga replaces the failed state with an ideal femme-centric futurist nation called Azania, inspired by rumors of an ideal Africa described in ancient American myths. You can get to know Azania and see their queens and territories by looking at his large-scale tapestries and videos. His tapestry maps record an Ocean of Repentance, where cleansing waters protect and surround islands inhabited by women. It takes a distinctive rigor to create and carry an entire nation in your mind. When meeting Athi-Patra Ruga, you sense him as someone dedicated to keeping his alternative world alive and well. He’s now about to open his first one-person exhibition in London at the Somerset House, and for those who crave utopian universes, Ruga can take you there.

– Pam McClusky, SAM’s Curator of African and Oceanic Art

Images: Installation view of In This Imperfect Present Moment at Seattle Art Museum. 2018, photos: Natali Wiseman.
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Object of the Week: ChimaTEK Virtual Chimeric Space

Want is the desire to possess or do, or the feeling of lack or being short of something desirable. As long as you’re wanting, you’re usually in a space of trying to gain something for yourself and yourself only. This is a result of individualized thinking, which is one of the pillars of the Western-American ideology. So what does freedom from want look and feel like? And what does it require of us to consider living free from want?

This possibility is explored by Saya Woolfalk, a New York-based artist who uses science fiction and fantasy to reimagine the world in multiple dimensions. With her multi-year projects No Place: A Ritual of the Empathics and ChimaTEK: Virtual Chimeric Space—the latter of which is on view in Lessons from the Institute of EmpathyWoolfalk creates a world of Empathics, a fictional race of women who are able to alter their genetic make-up and fuse with plants. With each body of work Woolfalk says, “I want a person to experience something that simultaneously makes them slightly uncomfortable about the potential of the world that I have created, but also gives them an excitement about a harmonious, multi-cultural society.”

While seemingly very different from human beings, the Empathics actually reflect our multicultural society in myriad ways. Through these beings, who have developed the ability to think collectively, we learn just how powerful the effects of empathy are when honed and used to empower a society in the direction of cultural evolution.

Freedom from want has the potential to take us to a place where this kind of evolution can be realized. In this free state, we are enabled to shift our focus from individual want to helping others gain what they require in order to experience the satisfaction of their needs. With the pressures of scarcity and fear eliminated, a new form of thinking emerges from a place of equity and equality.

Moving closer to freedom from want as a reality—as opposed to an out-of-reach ideal—challenges us to consider others instead of only the self. It challenges us to remove the ego—to listen and understand. It challenges what we consider necessary in order to live happy and successful lives. It challenges us to move beyond individualized, self-centered thinking and towards an elevated level of collective thinking, which is necessary for harmonious living and ultimately stimulates our capacity for acceptance, benefiting every global citizen.

– Adera Gandy, Visitor Services Officer

Image: Installation view of Lessons from the Institute of Empathy at Seattle Art Museum, 2018, © Seattle Art Museum, photo: Nathaniel Willson
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Amy Sherald’s Archetypes: In This Imperfect Present Moment

Unless you’re looking at this image on a gigantic screen with perfect resolution, you’re missing the impact of this Saint Woman. She’s slightly larger than life, which fits the premise of the artist who elevates her subjects to a status that goes beyond our normal vision. Amy Sherald paints portraits that are not trying to convince you they are a substitute for the actual person. Instead, she paints archetypes. She is taking the time to change our minds about what a portrait can be, an evocation of a saint whose name you do not know, but who is standing and waiting for you to recognize them.

This saint is surrounded by a halo of what may appear as bright yellow on your screen. If you’re just seeing a flat expanse of color, you’re missing the depth of a painted surface that is full of nuance, with swirling dimensions that activate this setting. The same nuances of color are true of the skin, which is in variations of gray. Amy Sherald chose this color shift for a reason, “to exclude the idea of color as race.” She also has this woman’s body face forward, while her head is turned in profile. What captures her attention is unknown, and it challenges you to wonder why she’s holding herself so still while her dress is blown in a breeze of urgency. It’s the stance of a saint who’s worth coming to see in person. Visit her with a trip to see In This Imperfect Present Moment, an installation of artworks by 15 artists conveying vibrant narratives that resonate across global boundaries.

– Pam McClusky, SAM’s Curator of African and Oceanic Art

Images: Saint Woman, 2015, Amy Sherald, American, b. 1973, Oil on canvas, 54 x 43 in., Private collection, photo courtesy the artist and Monique Meloche Gallery, Chicago. Installation view of In This Imperfect Present Moment at Seattle Art Museum. 2018, photo: Natali Wiseman.
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A Commingling of Minds in Sondra Perry’s Installation

With her current installation at SAM, the 2017 Gwendolyn Knight | Jacob Lawrence Prize winner, Sondra Perry asks, “What happens if we go to a place that we want to create as a habitable place for full life on earth but we don’t know what life looks like there?” Combining 3D rendering, terraforming, family, and the desire to bring people together inside the gallery, Perry’s work gives a machine its voice while creating a cosmic commingling of minds. See Eclogue for [in]HABITABILITY at SAM before it closes July 8!

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Printmaking in the Digital Age

What does the word “printmaking” mean in our digital age?

SAM Gallery’s June show, Contemporary Printmakers, supplies answers as varied as the artwork on view.

From the digital images of Stephen Rock and Troy Gua, to the mélange of techniques used by Kate Sweeney and Iskra Johnson, these artists use printmaking for many reasons. On the practical side, Gua says collector demand led him from painting to digital mediums. Meanwhile, Kate Sweeney’s desire is to push a two-dimensional surface into revealing three-dimensional space.

Luck or Chance: Many universes are possible, simultaneous and interpenetrated by Kate Sweeney

Printmaking, simplified, is when an artist works on one surface and then applies or transfers that work to a different surface. You’re probably familiar with how a wood block, an acrylic stamp, or a metal plate can be pressed onto a sheet of paper—this is printmaking. The idea of the repeatable image, or part of an image, has held appeal as a way to reprise elements of an artwork for artists and art collectors for millennia. Think of Andy Warhol and how his repeated gestures are fundamental to understanding the work as well as the artist’s intent.

View Corridor by Iskra Johnson

Today’s printmakers come to the medium for similar reasons but their toolkit includes computers, cameras, traditional print presses, handmade “pressure” prints, photocopies, and just about anything else that can be scratched and used to make marks on a surface. Whether it is the psychedelia of color explosions in Gua, Sweeney, and Rock’s work; or the whisper of minimalism in Rachel Illingworth’s pieces, the printmaking process helps artists tell their story in a multitude of ways.

When Flowers Speak to Clouds by Stephen Rock / From the Terrace (A Study of Edges) No. 6 by Rachel Illingsworth

Johnson says it best: “the process forces a certain surrender of control . . . with work that appears to have ‘arrived’ rather than having been ‘made’.” Her current body of work revolves around the theme of impermanence. Sweeney is contemplating gravity waves, dark matter, and all things quantum-theory related. And although 20th-century artist Agnes Martin didn’t work extensively with prints, it’s easy to see that she is a favorite of Illingworth’s. Gua wants to pay homage to the beautiful imagery and composition of Japanese woodblock prints, but also Northwestern-ize his work by using familiar landmarks.

Artist Curt Labitzke, a University of Washington Art Department Professor who runs the print studio there says his work in this show isn’t a print, but rather a painting. However, he used techniques to bring scratched elements through the back of the paper surface. So is it a print, based on the definition above? SAM Gallery invites you to see this show and decide for yourself.

The show runs June 9–July 7 and features the work of Northwest artists Troy Gua, Rachel Illingworth, Iskra Johnson, Curt Labitzke, Stephen Rock, and Kate Sweeney.

SAM Gallery is located in the lower level of Seattle Art Museum’s downtown location and open the same hours as the museum. All of the artwork is for sale and members can try before they buy, with a low-cost art-rental program.

Images: Somerset (Cathedral), Troy Gua, resin coated metallic chromogenic print on panel, 30 x 48 in. Luck or Chance: Many universes are possible, simultaneous and interpenetrated, Kate Sweeney, acrylic on paper collage with digital print, monoprint, braille print and transfer print, 46 x 49 in. View Corridor, Iskra Johnson, archival pigment print, 33 x 61 in. When Flowers Speak to Clouds, Stephen Rock, pigmented print with watercolor, mounted on board, 36 x 24 in. From the Terrace (A Study of Edges) No. 6, Rachel Illingworth, monotype with Pochoir, 40 x 31 in.

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Object of the Week: Country Ball 1989-2012

In 2013 SAM acquired a video work by contemporary artist Jacolby Satterwhite that would later feature in the SAM-organized exhibition Disguise: Masks and Global African Art (an iteration of which has just opened at the Brooklyn Museum to wide recognition). Though Disguise was still in the planning stages, Satterwhite’s video, called Country Ball 1989-2012, had so much eclectic visual interest, and it was displayed with such a distinctly digital vision, that it was chosen early on as a representative piece for the Seattle show.

"Country Ball 1989-2012" by Jacolby Satterwhite

Country Ball 1989-2012 is a maelstrom of dancing figures and neon elements, a wild ride for its nearly thirteen minutes of running time. Here’s the artist himself talking through his thoughts and creative process:

Using the whole computer-generated landscape and the various vignettes that appear throughout the video, the artist brings together different modes of communication to create a new way of expressing that is distinctly his. Dance comes to the fore as a versatile language with meaning in a range of contexts. As the artist narrates, the genus of the work lies in a Mother’s Day cookout in the park (by the way, thank you to all the moms!), enlivened by choreographed dance. The artist himself performs dance in eccentric dress to add his own movement and personality to the work. Even the viewer’s perspective seems to dance as it meanders through this dynamic virtual landscape.

Re-presenting a home video and introducing the artist’s original dance performance, and itself being a museum-owned artwork, Country Ball 1989-2012 illustrates what a wide spectrum of contexts and environments feature dance as an act of importance and value.

—Jeffrey Carlson, SAM Collections Coordinator

IMAGES: Country Ball 1989-2012, 2012, Jacolby Satterwhite, HD digital video with color 3D animation and sound, running time 12:39 mins., Seattle Art Museum, Modern Art Acquisition Fund, 2013.3, © Jacolby Satterwhite.
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