Come Back to SAM! Everyone must get tickets online in advance of their visit. Get yours today »

Virtual Art Talks: Abstract O’Keeffe

SAM’s locations may be temporarily closed, but our curators are still here to connect you to art! Here’s Dr. Theresa Papanikolas, SAM’s Ann M. Barwick Curator of American Art, to give you an overview of Georgia O’Keeffe: Abstract Variations. This installation featuring 17 works by this American master opened just one week before we had to make the difficult decision to close for the safety of our community. Tune in for a lecture developed just for you and learn more about the works on view at SAM. We can still appreciate these artworks and the artist who made them, even if can’t visit them at the moment.

Georgia O’Keeffe: Abstract Variations features 17 works from the 1910s to the 1930s. At the heart of the installation is Music, Pink and Blue, No. 1, a recent addition to SAM’s collection and a gift of late Trustee Barney A. Ebsworth. The first complete expression of O’Keeffe’s personal brand of modernism, Abstract Variations brings Music, Pink and Blue, No. 1 together with Music, Pink and Blue, No. 2, from the collection of the Whitney Museum of American Art, for the first time in Seattle, along with loans from museums across the country.

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

Stay Home with SAM is supported in part by
This image has an empty alt attribute; its file name is OAC_logoblack-rgb-150x150.png

Muse/News: Drawing with O’Keeffe, walks and recipes, and a napping lioness

SAM News

SAM’s temporary closure has been extended until further notice, in our effort to do all we can to safeguard the health and safety of the community.

We hope you are enjoying Stay Home with SAM, which connects you with art through videos, interviews, art-making activities, and art spotlights. Don’t miss the latest post, featuring digital and analog art-making experiences for Georgia O’Keeffe: Abstract Variations.

Artnet will be spotlighting exhibitions from all over the world during the closures—they started with Abstract Variations.

Local News

Seattle Times’ Gabriel Campanario is back with another sketch. This time, he takes in the Betty Bowen Viewpoint while on a socially distanced walk, mentioning her connection to SAM.

“Don’t skip the Olympic Sculpture Park art detour,” says Alison Williams of Seattle Met in her prescient “15 Best City Trails in Seattle” feature for Seattle Met’s April edition.

Crosscut shares another video in their Art Seen series, created before the stay-at-home order, with a question that is more relevant than ever.

“What do you create or do in life that brings you happiness? The question we asked locals — just before Washington state’s stay-at-home order — takes on new meaning now that individuals and communities are coping with the coronavirus crisis.”

Inter/National News

Last week, Congress passed a $2 trillion aid package in response to the coronavirus. Cultural organizations had requested $4 billion; Artnet’s Eileen Kinsella reports on how “they got, well, less.”

Hyperallergic says skip Netflix, and explore their list of experimental films and video art to stream, gathered with the help of their contributors as well as artists and filmmakers.

Artnet’s Sarah Cascone got 10 famous artists to dish on their favorite recipes getting them through these tough times.

“A fridge full of seafood, a cabinet full of beans, and regular trips to the coffee shop while we still can. Prepping for the worst, but can’t leave this city! So far, pizza is still delivering, so totally OK.”

And Finally

It makes me feel better to know Nikita the Lioness is taking a nap (again).

– Rachel Eggers, SAM Associate Director of Public Relations

Artwork: Georgia O’Keeffe, American, 1887–1986, Music, Pink and Blue, No. 1, 1918, oil on canvas, 35 x 29 in., Seattle Art Museum, Gift of Barney A. Ebsworth, 2000.161, photo: Paul Macapia

Inside Georgia O’Keeffe: Abstract Variations

Stay home with SAM and see inside Georgia O’Keeffe: Abstract Variations, zoom in on some early O’Keeffe drawings using our online interactive, and make some art of your own following along with the activity below.

“I found that I could say things with color and shapes that I couldn’t say any other way—things that I had no words for.”

– Georgia O’Keeffe

These words from a 20th-century artist best known for her paintings of flowers and desert landscapes may be surprising. “She had a very particular iconography, so we don’t typically think of her as an abstractionist,” says Theresa Papanikolas, SAM’s Ann M. Barwick Curator of American Art. Abstract Variations offers us a chance to broaden our perspective on this celebrated artist through a focused selection of 15 of her paintings and drawings, as well as portraits of her by Alfred Stieglitz, the photographer who eventually became her husband. The accompanying catalogue examines O’Keeffe’s pioneering innovations into abstraction.

You may be familiar with Music, Pink and Blue, No. 1, O’Keeffe’s first major oil painting, now in SAM’s collection. Abstract Variations also includes Music, Pink and Blue, No. 2, a loan from the Whitney Museum of American Art, bringing these two landmark paintings together in Seattle for the first time. Experiencing them alongside other works from this pivotal period in O’Keeffe’s career offers a glimpse into her practice. “There’s a tangible tension between geometry and curvilinearity in these early works,” says Papanikolas. “When you see them in person, they look as if they’re vibrating.”

Zoom in on Georgia O’Keeffe’s Drawings »

Take a good look at all the details in these charcoal drawings from the collection of the National Gallery of Art in Washington, D.C. Like many of us right now, these precious drawings have to stay home. O’Keeffe’s earliest works on paper are extremely fragile and therefore unable to travel, but we can still enjoy them—just click or tap on the image above!

Art Making Activity

The painting above by Georgia O’Keefe is called Music, Pink and Blue, No. 1. Like many paintings the artist made, its shapes and colors are inspired by music. Can you make a drawing of a song?

  • Choose a song that makes you feel happy, sad, calm, or excited. Close your eyes and think about what you hear: What lines, shapes, and images appear? What colors do you see? What more can you imagine?
  • Find a pencil and a piece of paper and listen to the song a second time. This time, take a deep breath and let your hand move around the paper to draw lines and shapes that connect to the music. You can draw fast or slow, whatever feels natural to you. Try not to think too much, just draw and capture the images from your imagination.
  • When the song is finished, you can add to or change the drawing that you have started. You might choose to press your pencil down to shade some areas darker and leave some areas light. You might choose to erase some sections and add additional shapes and lines. You might use other materials to add color or texture to your drawing.
  • When you have finished, display your drawing on the floor, a table, or pinned onto the wall or refrigerator. See what it looks like up close and far away. Ask people around you what looking at your drawing makes them think about or feel. Does it bring any music to their mind?

These process images are an example of Lauren Kent, SAM’s Museum Educator for School Programs & Partnerships, drawing to “Wuthering Heights” by Kate Bush at her kitchen table. We want to see your artwork! Share a photo of your drawing and the song that inspired you with us via email or on social media using #StayHomewithSAM!

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

Artwork: Georgia O’Keeffe, American, 1887–1986, Music, Pink and Blue, No. 1, 1918, oil on canvas, 35 x 29 in., Seattle Art Museum, Gift of Barney A. Ebsworth, 2000.161, photo: Paul Macapia

Muse/News: Remote art, O’Keeffe’s recipes, and staying safe

SAM News

Following a series of progressive steps taken in recent weeks, SAM announced last Thursday that it has temporarily closed through the end of March, to help limit the spread of COVID-19 and protect the community.

While the museum is closed, we hope you’ll enjoy Gayle Clemans’ lovely review of John Akomfrah: Future History, which notes that even with the closure, “the artist and his work, nonetheless, is well worth knowing about.”

“For Akomfrah, that cinematic approach is like philosophy, a way of comprehending the world. ‘As opposites have conversations, or as they are persuaded to at least potentially sit at the table in preparation for conversation, something miraculous happens,’ he says. ‘Life itself happens.’”

Also for the Seattle Times, Gayle Clemans rounded up visual arts recommendations in honor of Women’s History Month, including SAM’s “one-room powerhouse of a show,” Georgia O’Keeffe: Abstract Variations.

Local News

The Seattle Times has extensive coronavirus coverage, including local museum news, thoughts on the immediate impact to arts organizations, and daily live updates.

Crosscut shares ways to support the creative economy, Culturyst has a special “Seattle arts at home” edition, and Red Tricycle also has ideas for remote experiences, including browsing SAM’s collection online.

The Stranger’s Rich Smith suggests that you join Everyone in the World who will be tuning in to rebroadcasts and livestreams of Seattle Symphony performances.

“The push to do these performances is all stemming from the musicians,” Shafii said. “They’re motivated to do whatever they can to provide music for the community.”

Inter/National News

Globally, Artnet is tracking closures and other art world news. They’re also reporting that institutions in China and South Korea are carefully reopening.

The New York Times’ live (and free) coronavirus updates are essential.

Since we can’t be looking at Georgia O’Keeffe’s paintings, might we suggest cooking from Georgia O’Keeffe’s recipes? Thanks to The New Yorker’s Rachel Syme for the perfect housebound idea.

“Miss O’Keeffe often wondered aloud, ‘Do you think other people eat as well as we do?’”

And Finally

“Working from home is awesome.”

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Alfred Stieglitz, American, 1864–1946, Georgia O’Keeffe (in a chemise), 1918, gelatin silver print, 9 1/2 x 7 1/2 in., Georgia O’Keeffe Museum, Santa Fe, New Mexico, Gift of the Georgia O’Keeffe Foundation, 2006.6.1432, photo: Georgia O’Keeffe Museum, Santa Fe / Art Resource, NY

Botticelli at SAM: Paul G. Allen’s Legacy

“I believe great art helps us see the world around us a little differently and can often provide a sense of purpose and fresh perspectives.”

– Paul G. Allen

Right now SAM has a Botticelli hanging in its galleries! The Madonna of the Magnificat by Sandro Botticelli is part of a series of paintings on loan from the Paul G Allen Family Collection that is rotating. Botticelli’s Madonna expands on our current exhibition Flesh and Blood: Italian Masterworks from the Capodimonte Museum.

Widely known as the co-founder of Microsoft and a philanthropist, Paul G. Allen also had a lifelong interest in visual art that is reflected in his collection that spans centuries, genres, and media. A Cultural Legacy: A Series of Paintings from the Paul G. Allen Family Collection showcases singular masterworks that connect to works in SAM’s collections and special exhibitions.

The first painting in the series was Large Interior W11 (after Watteau) by Lucien Freud. This intimate, insightful group portrait exemplifies the 20th-century British painter’s distinctive style—one that invites us to “see the world around us a little differently.” The future featured work is White Rose with Larkspur No. 1 by Georgia O’Keeffe, which will be on view in 2020 in time for Georgia O’Keeffe: Abstract Variations to open at SAM on March 5.

Image: The Madonna of the Magnificat, ca. 1483–87, Sandro Botticelli, Italian, 1444/45–1510, tempera on wood panel, 24 3/4 in., Allen Family Collection.

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

Object of the Week: Some Living American Women Artists/Last Supper

In recognition of International Women’s Day, as well as Women’s History Month, this week we look at Mary Beth Edelson’s Some Living American Women Artists/Last Supper. Printed during a historic decade of feminist activity, this 1972 lithograph takes Leonardo da Vinci’s iconic Last Supper and replaces the biblical male figures with contemporary female artists. Jesus, represented instead as Georgia O’Keeffe, sits at the center of the (literal and proverbial) table alongside a number of other pioneering women artists: Miriam Schapiro, Hannah Wilke, Yoko Ono, Faith Ringgold, Lee Bontecou, Eleanor Antin, Agnes Martin, Lee Krasner, Carolee Schneeman, Lynda Benglis, Alice Neel—the list goes on. In the spirit of this feminist work, one that gives representation to an international and overlooked roster of women, below are four quotes from four generations of feminist writers, philosophers, and activists: Simone de Beauvoir (1908-1986), Luce Irigaray (b. 1930), bell hooks (b. 1952), and Chimamanda Ngozi Adichie (b. 1977).

 To emancipate woman is to refuse to confine her to the relations she bears to man, not to deny them to her; let her have her independent existence and she will continue nonetheless to exist for him also: mutually recognising each other as subject, each will yet remain for the other an other. The reciprocity of their relations will not do away with the miracles—desire, possession, love, dream, adventure—worked by the division of human beings into two separate categories; and the words that move us—giving, conquering, uniting—will not lose their meaning. On the contrary, when we abolish the slavery of half of humanity, together with the whole system of hypocrisy that it implies, then the ‘division’ of humanity will reveal its genuine significance and the human couple will find its true form.

– Simone de Beauvoir, The Second Sex, 1952[1]  

How can I say it? That we are women from the start. That we don’t have to be turned into women by them, labeled by them, made holy and profaned by them. That that has always already happened, without their efforts. And that their history, their stories, constitute the locus of our displacement. It’s not that we have a territory of our own; but their fatherland, family, home, discourse, imprison us in enclosed spaces where we cannot keep on moving, living, as ourselves. Their properties are our exile.

– Luce Irigaray, This Sex Which Is Not One, 1977[2]

Visionary feminism is a wise and loving politics. It is rooted in the love of male and female being, refusing to privilege one over the other. The soul of feminist politics is the commitment to ending patriarchal domination of women and men, girls and boys. Love cannot exist in any relationship that is based on domination and coercion. Males cannot love themselves in patriarchal culture if their very self-definition relies on submission to patriarchal rules. When men embrace feminist thinking and practice, which emphasizes the value of mutual growth and self-actualization in all relationships, their emotional well-being will be enhanced. A genuine feminist politics always brings us from bondage to freedom, from lovelessness to loving.

– bell hooks, Feminism Is For Everybody: Passionate Politics, 2000[3]

Some people ask: “Why the word feminist? Why not just say you are a believer in human rights, or something like that?” Because that would be dishonest. Feminism is, of course, part of human rights in general—but to choose to use the vague expression human rights is to deny the specific and particular problem of gender. It would be a way of pretending that it was not women who have, for centuries, been excluded. It would be a way of denying that the problem of gender targets women.

– Chimamanda Ngozi Adichie, We Should All Be Feminists, 2014[4]

[1] Simone de Beauvoir, The Second Sex (New York: Knopf, 1952), 767.

[2] Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter (Ithaca: Cornell University Press, 1985), 212.

[3] bell hooks, Feminism Is For Everybody: Passionate Politics (New York: Routledge, 2000), 123-124.

[4] Chimamanda Ngozi Adichie, We Should All Be Feminists (New York: Anchor Books, 2014), n.p.

– Elisabeth Smith, Collections Coordinator

Image: Some Living American Women Artists/Last Supper, 1972, Mary Beth Edelson, offset lithograph, 37 1/2 in. x 20 3/4 in., Leonardo Lives Exhibition Fund, 98.14 © Mary Beth Edelson

Seeing Nature through The Eyes of Curators: The Grand Canyon

The first time I saw Cosmic Cities, I found it hard to believe that the Arthur Wesley Dow who I was familiar with could paint so large and boldly. This is what the Grand Canyon did for him. Dow was famous as a teacher at Columbia Teachers College. He developed a course of composition study based on Japanese prints, on filling the page or canvas through flat patterns and linear rhythms. This is what he taught to people like Georgia O’Keeffe, a new modern way of looking. In his own practice, he created beautiful little wood cut prints and tiny paintings done in the landscape around his Massachusetts home. But when he went west it changed him completely.

When Arthur Wesley Dow got to the Grand Canyon, he said it compelled him to think about pictures in three different ways. One was color, because the sedimentary rock, sand, and shell shimmered, changing colors all day long and giving a glittery quality to the atmosphere and the surfaces. He said the immersive experience of the Grand Canyon made him think differently about the structures of pictures—he loved that disorienting quality, the feeling that we have no footing, that we might tumble into the scene. He also said he saw nature’s innate architecture. In Cosmic Cities, this strange architecture looks like it could have come from some ancient builders, but it is the product of nature itself. This painting was commented on by critiques as a great breakthrough for American painting at this time in 1912. Because of its large scale and its all-over, painterly color pattern, it doesn’t look like a Victorian-era painting—it looks like it could have been painted today.

Dow went to the Grand Canyon because he saw paintings like Thomas Moran’s Grand Canyon, also in the Allen collection. Moran visited the Grand Canyon repeatedly. His trips were paid for by the Santa Fe Railroad and the Fred Harvey Hotel. The Santa Fe Railroad extended its tracks right up to the south rim of the Grand Canyon and built the famous Fred Harvey Hotel there. It was a tourist destination for a long time before Theodore Roosevelt designated the Grand Canyon a national monument in 1908. When you look out across the vast space, you see the horizon in the Moran painting, and so you get a sense of firm grounding, and of deep landscape. It’s a very different effect from Dow’s boundless, dizzying place.

–Patricia Junker, Ann M. Barwick Curator of American Art

I don’t know how many of you have been to the Grand Canyon, but the drama of the Grand Canyon is just extraordinary. When you stand on the rim of the Grand Canyon you can hardly ever see straight down to the Colorado River because it is so deep. What you see is this texture of different planes that unfold in front of you. I have this idea that Dow painted the Grand Canyon at sunrise because once I got up at four in the morning to see the sunrise over the Grand Canyon and the lavender tones start coming out. In David Hockney’s Grand Canyon, on the other hand, I see sunset colors because that’s when there are intense orange and yellows. You can’t believe how much purple there can be in a rock! Of course, Hockney exaggerates since these are not natural colors.

A British artist who spends a lot of time in Los Angeles and travels to the Grand Canyon, David Hockney did some work designing stage sets. I think that’s especially pronounced in his Grand Canyon. He uses these small squares of canvas corresponding to photographs he took at the Grand Canyon. Initially he planned a photographic series. He took all these photographs, taped them together, and then decided the photographic representation wasn’t successful. So he painted the Grand Canyon in three different versions. This one is called The Grand Canyon and conceptually, if you think of stage design, the purple form would be one slice that you roll onto stage and the yellow form could be another. There’s a way in which he was learning from his experience in stagecraft for the composition of this scene. The stroke of genius here, that tiny sliver of sky—which when you’re standing there, would instead feel enormous—puts so much pressure on the entire composition. It’s really an extraordinary painting.

–Catharina Manchanda, Jon and Mary Shirley Curator of Modern and Contemporary Art

Bring your own experience of the Grand Canyon to Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection and compare it to three wildly divergent depictions of this natural wonder. Seeing Nature presents 39 exquisite, highly detailed paintings as a platform for visitors to consider their own experience with the world through sight, touch, smell, sound, and taste. On view through May 23, don’t miss it!

Images: Cosmic Cities, Grand Canyon of Arizona, 1912, Arthur Wesley Dow, American, 1857-1922, oil on canvas, 61 x 79 in., Paul G. Allen Family Collection.
Grand Canyon of Arizona at Sunset, 1909, Thomas Moran, American, born England, 1837–1926, oil on canvas, 30 x 40 in., Paul G. Allen Family Collection. David Hockney, British, b. 1937, The Grand Canyon, 1998, oil on canvas, 48 ½ x 14 ft. 1 in. overall, Paul G. Allen Family Collection, © David Hockney.