All posts in “Jacob Lawrence”

Muse/News: The Asian Art Museum prepares, art preachers & martyrs, & #DollyPartonChallenge

SAM News

Check out this week’s edition of the International Examiner, with a special section on the Asian Art Museum that reopens on February 8. It includes articles on Be/longing, the building itself, the Gardner Center, the Future Ancient, a know-you-before-you-go for the opening weekend events, and a special thank-you from SAM. Articles on Boundless and the conservation center should hit online tomorrow—see everything in print now.

Farewell, Flesh and Blood. T.s. Flock of Vanguard had one last round-up of “grim highlights” from the exhibition that closed on Sunday. Up next downtown: John Akomfrah: Future History.  

Local News

Seattle Times’ Megan Burbank heads to Twisp to explore the artsy, the sustainable, and the inventive of its communities.

“Preacher of the arts”: Crosscut’s Margo Vansynghel interviews Raymond Tymas-Jones, president of Cornish College of the Arts, who has a bold plan for the institution’s future.

Margo also recently visited with the local performers who came together to form the Art Martyrs Relief Society.

“The concept of their endeavor . . . is simple: Put together one show a year with a kickass lineup, pay the performers royally, preach the gospel that working artists deserve a fair wage, have a damn good time and repeat.”

Inter/National News

Jacob Lawrence: The American Struggle is now on view at the Peabody Essex Museum. Reviews landed from the Washington Post’s Sebastian Smee and the Boston Globe’s Murray Whyte. The exhibition travels to SAM next year.

Barack and Michelle are going on tour! Hyperallergic’s Hakim Bishara reports on the five-city tour of their official portraits by Kehinde Wiley and Amy Sherald, which kicks off in June 2021.

Bethan Ryder for the Guardian on projects around the world integrating museums and interactive learning experiences.

“After a long pause a nine-year-old said: ‘Objects have rights.’ The phrase has stuck. It captures both the need to conserve objects and to consider them as active participants in the museum experience.”

And Finally

Museums take the #DollyPartonChallenge. (SAM’s was the best).

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jueqian Fang
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Muse/News: Catch these hands at SAM, rice cookers at On The Boards, and celebrating the king of love

SAM News

Final week! Flesh and Blood: Masterpieces from the Capodimonte Museum closes Sunday, January 26.

Last week, we shared the deep dive into the exhibition by T.s. Flock for Vanguard Seattle; this week he’s back with a close look at the show’s notable hands.

Seattle Magazine’s Ariel Shearer has a new blog series for those new in town, exploring the city; this week, she visits Flesh and Blood and talks all things Artemisia.

“It’s an image I’ve seen hundreds of times—as misandrist memes across the internet, a patch on the back of my partner’s denim jacket, to list a few iterations—but witnessing Artemisia Gentileschi’s Judith and Holofernes in person at the Seattle Art Museum last weekend still sparked a visceral reaction.”

Local News

Crosscut’s Margo Vansynghel reports on the “badass” PNW artists who received prestigious Creative Capital grants, including J Mase III and Lady Dane Figueroa Edidi.

The Seattle Times’ Yasmeen Wafai has a great round-up of activities to check out for Lunar New Year and Dr. Martin Luther King, Jr. celebrations.

The Stranger’s Rich Smith previews Cuckoo, Jaha Koo’s upcoming performance piece at On The Boards, which connects rice cookers, loneliness, and the global economy.

“To him, the preprogrammed voice trapped in a mass-market workhorse metaphorically resonated with the life of the average Korean millennial. The ironic sadness of being comforted by a product of a system that creates the discomfort in the first place seemed ripe for dramatic inquiry.”

Inter/National News

Stephanie Wolf for NPR’s Weekend Edition visited the Denver Art Museum’s exhibition of Monet paintings for a behind-the-scenes look at how they actually got there. Seattle Art Museum lent a work to the exhibition.

Artnet’s Sarah Cascone reports that the Lucas Museum of Narrative Art has acquired the Separate Cinema Archive, a collection “documenting African-American cinema history from 1904 to the present day.”

Nancy Kenney of the Art Newspaper previews Jacob Lawrence: The Struggle Series, which is now on view at the Peabody Essex Museum. The exhibition’s national tour brings the works to SAM in 2021.

“In an election year in which the country is bitterly divided between those for and against President Donald Trump, and over who is welcome to immigrate and become a citizen, it seems likely to resonate.”

And Finally

Recorded live on April 7, 1968.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jen Au
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Object of the Week: Confrontation at the Bridge

This 1975 screenprint by Jacob Lawrence was commissioned on the occasion of the United States’ bicentennial. The prompt: to create a print that reflects an aspect of American history since 1776. Lawrence, one of 33 artists to contribute to the portfolio An American Portrait, 1776-1976, chose to depict the infamous incident in Alabama known as ‘Bloody Sunday’.

On Sunday, March 7, 1965, hundreds of unarmed protesters—led by civil rights leaders such as Martin Luther King, Jr. and John Lewis—organized a 54-mile march from Selma to the state’s capitol, Montgomery, advocating for the voting rights of African Americans. As demonstrators began their route out of Selma, they were met by a barrage of state troopers at Edmund Pettus Bridge. With orders from Alabama Governor George Wallace “to use whatever measures are necessary to prevent a march,” the state troopers attacked the activists—resulting in the death of 26-year-old Jimmie Lee Jackson—using clubs and tear gas. Though the march dissipated due to this senseless violence, two days later the protesters safely reached Montgomery (thanks to court-ordered protection) and numbered nearly 25,000.

As horrible as these events were, what took place on March 7—publicized nationally and internationally—helped galvanize public opinion and finally mobilize Congress to pass the Voting Rights Act, which was signed into law by President Lyndon Johnson five months later.

In Lawrence’s screenprint, the troopers’ brutal actions are represented through the presence of a vicious, snarling dog. To its right, we see African American men and women of various ages clustered together, their political solidarity conveyed through their visual unity. A tumultuous sky surrounds them, whose jagged cloud forms find likeness in the choppy waters below.

This horrible event would leave an indelible mark on our nation’s history and is remembered today for the courage shown by the thousands of activists who marched for a more equitable world. When articulating his choice to depict this important moment, Lawrence recalled: “I thought [the Selma-to-Montgomery march] was part of the history of the country, part of the history of our progress; not of just the black progress, but of the progress of the people.”

– Elisabeth Smith, SAM Collection and Provenance Associate

Image: Confrontation at the Bridge, 1975, Jacob Lawrence, serigraph; ink on paper, 19 1/2 x 25 15/16 in., Anonymous gift in honor of Jacob Lawrence and Gwen Knight, 92.10 © Jacob Lawrence
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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

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Object of the Week: Jacob

Jacob Lawrence and Gwendolyn Knight Lawrence were married for 59 years, in a harmonious partnership of two prolific and engaged creators that was both romantic and artistic. Though it was Jacob whose star would rise over the years, becoming celebrated around the world for his dynamic pictorial style of historical narratives, Gwendolyn continued her studies—in painting, drawing, design, and dance—and served vital roles in the cultural community of their adopted city of Seattle.

With this intimate portrait of her husband (Jacob, 1986), Gwendolyn explores her own artistic project, distinct from her husband’s grand themes of history and social justice. Instead, she pursues an expressive and personal idiom, reflecting the emotional truths of the immediate world around her.

Gwendolyn—or Gwen, as she was affectionately known—began the portrait in 1960, when the couple was still living in New York City. But she kept returning to it, with final retouches in 1986, when they would firmly be ensconced in their lives in Seattle. She found it challenging to create a portrait of the person she saw every day, in all of the moods and changes that an individual necessarily undergoes over the years. Instead of a frozen moment in time, we instead see the process of a person becoming.

Jacob’s face fills nearly the entire frame, even going out of the bounds of the canvas in one corner. His skin is rendered in broad and unusual strokes of brown, green, and yellow, reflecting against the hint of a red shirt at the neck and glimpses of orange in the background. He wears a calm smile and a somewhat inquisitive brow, exuding kindness.

In the catalogue for Never Late for Heaven: The Art of Gwen Knight, a 2003 solo show held at the Tacoma Art Museum, curator Sheryl Conkleton noted, “As her work developed, Knight became more committed to the interpretation and communication of visual delight in the world around her. It superseded the need to tell a story or to explore the larger meaning of what it meant to be a modern painter.”

When artist Gwendolyn Knight Lawrence died on February 18, 2005—almost exactly 14 years ago—she’d lived in Seattle for 34 years. The city was lucky to have her.

Rachel Eggers, Manager of Public Relations

Image: Jacob, 1986, Gwendolyn Knight Lawrence, oil on canvas, 14 1/4 x 10 1/4 in., Gift of the Marshall and Helen Hatch Collection, in honor of the 75th Anniversary of the Seattle Art Museum, 2009.52.59 © Estate of Gwendolyn Knight Lawrence/Licensed by Artists Rights Society (ARS), NY
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Object of the Week: Study for the Munich Olympic Games Poster

I always loved running—it was something you could do by yourself and under your own power. You could go in any direction, fast or slow as you wanted, fighting the wind if you felt like it, seeking out new sights just on the strength of your feet and the courage of your lungs.

— Jesse Owens

One of 29 artists commissioned to design a poster for the 1972 Summer Olympic Games in Munich, Jacob Lawrence chose to highlight the achievements of Black athletes.[1] In his Study for the Munich Olympic Games Poster, five runners, depicted in Lawrence’s characteristic graphic flatness, recall the figurative style of Greek vase painting—an apropos homage on the occasion of the Games of the XX Olympiad.

The iconic colors of the five interlocking Olympic rings—blue, yellow, black, green, and red—recur throughout the study, from batons and jerseys to shorts and shoes. Framed by the curvature of the track, the runners’ physicality and strength are difficult to ignore. Together, their musculature, movement, and form encapsulate the excitement and competitive finish of the relay—where gold, silver, and bronze are determined by mere tenths of seconds.

Known for his stylistic experimentation and depictions of African American life, Lawrence’s commission also has special importance within the context of the Civil Rights Movement and history of the modern Olympic Games. Created only four years after the 1968 Mexico City Summer Olympics, and on the occasion of the first Olympics held in Germany since 1936, his representation of Black athletes is especially meaningful.

In the 1968 Olympic Games, American athletes Tommie Smith and John Carlos respectively won the gold and bronze medals in the 200 meter race.[2] Upon climbing the podium, with the Star Spangled Banner playing behind them, both Smith and Carlos, donning black gloves, raised their right and left fists and bowed their heads—a symbol of protest and strength on an international stage.[3] Though interpreted by many as an explicit demonstration of Black Power, for Smith, it was a human rights salute: “It was a cry for freedom and human rights. We had to be seen because we couldn’t be heard.”[4]

Just 32 years earlier, in 1936, the Summer Olympics were held in Berlin. Though Germany had won the bid in 1931, prior to the rise of the Nazi Party, Adolf Hitler’s rhetoric of white supremacy and antisemitism was already well established. For Hitler, the Olympics became a stage upon which Germany could prove his theories of racial superiority. It was within this Olympic setting—in which athletes of color and Jewish heritage were openly discriminated against—that Owens won four gold medals, set two world records, and came away the most successful athlete of that year’s games.

For Smith, Carlos, and Owens, these Olympic victories allowed them to transcend—and publically challenge—the political divisions and discrimination taking place in the United States and abroad. Similarly, Lawrence’s Study for the Munich Games Poster, depicting all Black athletes, is an important work that finds its place within this complicated history of the Olympic Games.

– Elisabeth Smith, Collections Coordinator

[1] Other artists included Hans Hartung, Oskar Kokoschka, Pierre Soulages, David Hockney, and Josef Albers, to name just a few.
[2] Tommie Smith won the 200 meter race with a world-record time of 19.83 seconds.
[3] It is believed that Smith raised his right fist, and Carlos his left, to represent Black unity, forming “an arch of unity and power.” BBC News, “1968: Black athletes make silent protest,” http://news.bbc.co.uk/onthisday/hi/dates/stories/october/17/newsid_3535000/3535348.stm.
[4] Rick Campbell, “An Olympic moment—from 1968,” Houston Chronicle, August 5, 2008, http://blog.chron.com/40yearsafter/2008/08/an-olympic-moment-from-1968.
Images: Study for the Munich Olympic Games Poster, 1971, Jacob Lawrence, gouache on paper, 35 1/2 x 27 in., PONCHO, 79.31 © Jacob Lawrence. Tommie Smith (center) and John Carlos (right) extend gloved hands skyward during the playing of the Star Spangled Banner in Mexico City on October 16, 1968. Jesse Owens running at 1936 Olympics in Berlin.

 

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Visitor takes photo of sculptures in Yayoi Kusama: Infinity Mirrors at Seattle Art Museum

Muse/News: Arts News from SAM, Seattle, and Beyond

SAM News

Here’s Jennifer Sokolowsky of the Seattle Times on how social media is shaping art; SAM curator Catharina Manchanda speaks about the Yayoi Kusama: Infinity Mirrors experience.

For art institutions evolving with technology and visitors’ tastes, it’s a delicate balance. “In the end, it’s, ‘How do you have a meaningful experience of art?’ and the answers will depend. From a curatorial perspective, I just want to make sure that the traditional and core mission of the museum lives on,” Manchanda said.

The Stranger’s Slog revived their Short Film Fridays feature to share the winning short films from the Wyeth Film Sprint; the results are appropriately strange and sad and surreal.

SAM earned a reader’s “Rave” in the Seattle Times for Andrew Wyeth: In Retrospect; they noted among the patrons “a keen concentration I’ve never seen before.”

Local News

Seattle Magazine recognizes the “Most Influential Seattleites of 2017,” including SAM friends such as C. Davida Ingram, Inye Wokoma, and the KEXP Gathering Space.

Bookend the Jacob Lawrence centennial celebrations with Woodside/Braseth Gallery’s “William Cumming & Jacob Lawrence,” which, the Seattle Times notes, “offers a chance to dig deeper into these two artists’ legacies.”

KING’s Evening Magazine visits MOHAI’s exhibit of the expressive black-and-white photography of Al Smith, which “chronicles 65 years of Seattle history, the Central District neighborhood, and the people who inspired him.”

Inter/National News

Clearly the biggest art world news recently was the dramatic and record-breaking sale of Leonardo da Vinci’s “Salvator Mundi.”

Antwaun Sargent for Artsy on the recent unveiling at Princeton of a public sculpture by Titus Kaphar, which was commissioned as part of the university’s reckoning with its history of slavery. Kaphar was the inaugural recipient of SAM’s Gwendolyn Knight | Jacob Lawrence Prize in 2009.

Madrid’s Reina Sophia unveils “Rethinking Guernica,” a free website—available in Spanish and English—that offers a visual timeline of Picasso’s most famous painting.

And Finally

Hyperallergic on a forthcoming book that investigates the aspirational kitsch of midcentury album art that expressed “an era of shifting desires.”

– Rachel Eggers, SAM Manager of Public Relations

Photo: Installation view of Yayoi Kusama: Infinity Mirrors at Seattle Art Museum, 2017, photo: Natali Wiseman.
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Docents Defined: Celeste Ericsson

Get more intimate with SAM’s collection by becoming a docent! Docents will learn about our global collection of artwork and then share their knowledge and passion for art with a diverse range of visitors. No experience necessary! SAM docents have a wide range of reference points and experiences that they each bring to the art in SAM’s collection and that is what makes our public tours so unique. Making room for new perspectives is how we continue to offer engaging and informational tours throughout the year. Here’s a chance to get to know Celeste Ericsson, just one of our many docents who volunteers their time at the museum. Are you interested in becoming a SAM docent and leading tours of the museum? Apply now! Applications are accepted through July 12 and new docents start training in fall 2017!

SAM: Tell us about yourself. Why did you become a docent?

Celeste Ericsson: I’ve always loved art museums ever since I was a child growing up in New York City. My favorite New York museums were/are the Metropolitan Museum of Art and the Cloisters. I have always been interested in history in general, and in symbolism/iconography. As an illustrator and a graphic designer, a knowledge of art history and art movements both inspires me and helps me to communicate in my artwork.

What’s the best part of being a docent?

I get to share my interests with others, and I love doing it with kids. I’m constantly adding their insights to my tours. I do like talking with adults also. In order to communicate clearly, I have to figure out the most important things I believe about art and art philosophy. And in order to make things relevant I need to figure out the connections and the contexts for the art I’m touring so that the pieces do not become disembodied objects. In other words my docent work clarifies my own understanding of art.

What work of art is your favorite to tour?

The works of art that are my favorite to tour definitely differ from the works I’m personally drawn to. I’m drawn to the Archaic Greek Antefix with Medusa or Akio Takamori’s Blue Princess. For art to tour I liked Cai Guo-Qiang’s Inopportune Stage One, definitely a favorite before it was deinstalled last winter. Aesthetically, I found it horrifying, but it tells the story of art so clearly. I can’t think of even one class that it did not connect to, or who failed to figure out the story of a car flipping and exploding.

I’m finding that kids are really drawn to John Grade’s Middle Fork also. My favorite description from a third grader is that it looks like a Jenga game.

What’s your most memorable touring experience?

My favorite touring experience lately was Jacob Lawrence’s Migration Series for kindergarten, no less. I hadn’t expected the kids to get it, but the themes of having to leave home and everything familiar, and the theme of fairness really resonated with them. They created the most amazing drawings afterwards. A couple were very personal, and the kids were kind and appreciative of each other’s creations.

What advice do you have for people considering applying to the docent program?

This is a hard one to answer, but I’d say to be in it for how art can be inspiring. Really try to find those paths of wonder and fun for the kids. Discover your own genuine voice. Finally, it’s great to not take oneself too seriously, and to have a sense of humor.

– Kelsey Donahue, Museum Educator, School & Educator Programs

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Migration Stories: Lindsey Dabek

Long Story Short…

In the beginning
somewhere in time
In the fields
In the mountains
In the jungle
In the vineyard
There they were
The Polish ones, they came through Ellis Island
Looking for a new life
Foreign? Not foreign . . .
Jewish? Not Jewish . . . (Jewish)
Through NY to the mid-west
Saginaw, Traverse City, Ann Arbor
The light ones were here already, somehow
Didn’t remember the roots quite right
Norse or something like it.

Meanwhile in Peru
An intelligent engineer, a dark man
An Indian
A missionary from the Canary Islands
PUERTO RICO!!!
To NY
SAN JUAN!!!
To NY
Corsica, Spain, Italy
To NY
EVERYBODY!!!
Little girl . . . your mom was HOW old?
You had HOW many brothers and sisters?

My mom – NY
1960s to Cali
My dad – MI
1960s to Cali
LOS ANGELES!!!
Music – people – love – not – war
Two smart young people with the dream of making a family
Dream of peaceful trees and quiet home
Dream of music and art
Dream of computers and education
1970s to Seattle
THIS was it
Trees – house – dog – kids – family – yard
Work . . . work . . . work
THIS was it.
My brother
Me
1980s West Seattle
Our block . . . us
Together on the street
Bikes – games – yards – cats – dogs
Constantly moving, yet in one place
Work . . . work . . . PLAY
Mom and Dad
what they never had,
they gave to US.

My home
Seattle
Since the day I was born
My only home.
Still is as long as I can stick it out
Can’t price me out yet
Can’t push me south
THIS is home.
My only home.
Through me,
they all came here, together
I’m still watching for the ancestors on the shores of Lincoln Park,
Waiting to see the rainbow
Waiting for the Sun Dog
as the eagles play in the breeze.

No sir,
I’m not going anywhere.

–Lindsey Dabek, SAM Shop Manager

Inspired by Jacob Lawrence: The Migration Series, Seattle Art Museum’s Equity Team and staff is sharing personal stories of immigration, migration, displacement, and community. Enjoy this blog series? Hear more stories in person from local legends and how their perspectives relate to the works on view in Jacob Lawrence’s artwork during Migration Stories events on the first and second Thursdays at Seattle Art Museum through April. 

Photos: Courtesy of Lindsey Dabek
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