All posts in “Intiman Theatre”

Muse/News: Reimagined museums, reflective art, and the many rhythms of Cuba

SAM News

Last week, SAM announced that the Asian Art Museum will reopen to the public on February 8 and 9 with two free 12-hour days of programming, reflecting the 12 themes of the dramatically reimagined collection. The Seattle Times broke the news.

Natalie Ball: Twinkle, Twinkle Little Snake is reviewed by Bean Gilsdorf in Art in America. It’s also the cover story in this week’s edition of Real Change, with a feature review by Lisa Edge inside.

“Ball’s creations are freighted with symbolic messages, composed in a language that conjures both ancestral tradition and contemporary identity.”

“While audiences may not understand all the references she’s included, she wants them to connect with it emotionally. ‘I want them to feel it,’ Ball said. ‘I want it to pull or tug.’”

Building bridges! Centering joy! Priya Frank, SAM’s Associate Director for Community Programs, is one of Puget Sound Business Journal’s annual “40 Under 40” leaders.

Local News

Last week, we shared coverage of an internal battle at Intiman Theatre. This week, the organization has agreed on a plan for its future.

Seattle Met’s Stefan Milne has some thoughts on the five gallery shows to see this month.

The Stranger’s Jasmyne Keimig gets reflective in Carrie Yamaoka’s recto/verso at the Henry Art Gallery.

“It’s representation in the purest of senses, in that you can literally see yourself in her work—not an abstracted label of your body, say, or your identity, but your body and your identity.”

Inter/National News

The new MoMA opens on October 21, and press have had their sneak peek. Here’s thoughts from the New York Times and Vulture; CBS Sunday Morning will visit this week.

Can he collect it? Yes he can! Artsy chats with Q-Tip about his art collection, now on view at Bonham’s in New York.

It’s one of those beautiful New York Times interactives, this time taking us on a road trip across the many rhythms of Cuba.

“Cuban music is often described as a tree, with various primary roots that supply life for many branches. But separating the island’s music into distinct genres is an inherently flawed task — they intertwine and cross.”

And Finally

A swan song (or 10) from Jessye Norman.

– Rachel Eggers, SAM Associate Director of Public Relations

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Muse/News: Baroque drama, soap bubbles, and Colescott’s good trouble

SAM News

Are you ready for DRAMA? SAM’s trailer for the major fall exhibition is here in all its glory. Flesh and Blood: Italian Masterpieces from the Capodimonte Museum opens October 17; both Seattle Met and Seattle Magazine recommend it.

Jeffrey Gibson, whose solo show Like a Hammer graced SAM’s walls earlier this year, is officially a genius. He, along with 25 other noteworthy doers, was named a MacArthur Fellow last week. Congrats, Jeffrey!

Local News

The Seattle Times’ Brendan Kiley reports on the conflict within Intiman Theatre between the board and staff, as the organization again comes under threat. The Stranger’s Rich Smith also reported on the rumblings.

The Frye just opened three new shows. Seattle Met’s Stefan Milne loved Pierre Leguillon: Arbus Bonus, calling it “direct, elegant, inquisitive, multitudinous.”

And the Stranger’s Jasmyne Keimig loved Unsettling Femininity, their first thematic show from the founding collection that explores male and female gazes—and one ensorcelling soap bubble—amid newly lavender walls.

“It’ll last forever. It’s been here since before my grandparents were born and will be here for longer than my grandchildren. This bubble with outlast my life as a symbol of how my own life is fleeting. Amongst all that oil paint!”

Inter/National News

GRAY Magazine’s Tiffany Jow on Andrea D’Aquino’s new collage book on Ruth Asawa, which explores the artist’s fascinating personal history. It’s directed at readers age 5-8—but I think you’ll want a copy, too.

Reggie Ugwu of the New York Times reports on last week’s unveiling in Times Square of Kehinde Wiley’s bronze sculpture Rumors of War, of a man and “the horse he rode in on, from a previous century, perhaps, or was it a future one?”

Artnet’s Taylor Dafoe reviews Art and Race Matters: The Career of Robert Colescott, now on view in Cincinnati’s Contemporary Arts Center. Lowery Stokes Sims and co-curators grapple with his amazing work—and his underappreciated status.

“He misbehaved,” she explains matter-of-factly. “He did not conform to any of the canonical ideas about painting, about depictions, about points of view—he just misbehaved and we’re all better for it.”

And Finally

It’s been a month. Farewell, September.

– Rachel Eggers, SAM Associate Director of Public Relations

Atalanta and Hippomenes, ca. 1620–1625, Guido Reni, Italian, 1575–1642, oil on canvas, 75 9/16 x 103 15/16 in., Museo e Real Bosco di Capodimonte.
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