Image: Shiva and Parvati in Conversation; Shiva on His Vimana (Aircraft) with Himalaya, Folio 53 from the Shiva Rahasya, 1827, Jodhpur, opaque watercolor and gold on paper, 16 1/2 × 45 5/8 in., Mehrangarh Museum Trust, photo: Neil Greentree.
Curbed Seattle highlights the Olympic Sculpture Park as one of “26 best places to visit in Seattle this fall,” calling a visit to the sculpture park “the easiest way to feel artsy in Seattle without needing to spend half a day inside a museum.”
“Considering that only last year Mayor [Rahm] Emanuel and Commissioner [of the Department of Cultural Affairs Mark] Kelly dedicated another mural I designed downtown for which I was asked to accept one dollar, you could say the City of Big Shoulders has wrung every bit of value they could from the fruits of my labor.”
“’I always want to make sure that people are looking at the art more so than anything else,’ he said. ‘When you think of things like visual hierarchy, I want to make sure that the art is first and on top of hierarchy.’ And that phone or tablet with its supplemental information? ‘I want to make sure that’s secondary,’ he said.”
Kerry James Marshall’s Past Times recently set an auction high for any work by a living African-American artist; The New York Times’s Scott Reyburn wrote about the rise of value for works by Black artists. He notes that these shifts are also reflected in curatorial choices; SAM’s recent Figuring History exhibition and current Basquiat painting on view are referenced.
What happens when you’ve booked a show four years ago—called Casanova: The Seduction of Europe—and it’s opening now in the age of #MeToo? Hyperallergic’s Emily Wilson shares what San Francisco’s Legion of Honor Museum did.
“’The simplest problem to fix is framing his rapes as seductions and Casanova as a kind of sexy scoundrel,’ she said. ‘We can avoid glorifying or censuring and try to imagine if, instead of a wealthy white European man, this story was told through some of the women of the time.’”
“The piece starts off with a lot of bells. It’s very sparkly. Some of the musicians were like, ‘Oh it’s so beautiful and sparkly, I thought it would be more angry,’ but it’s not at all. There are some ever-so-slightly dark parts. Overall the feeling they wanted to communicate was not about their past experiences, which may have been very dark, but rather a hopeful future. And I think that really speaks to the participants’ resilience and imagination.”
“Contemporary art and religion have long been perceived as antagonists. However, this show suggests that the real chasm is between religion and fashion—the one focused on the realm of spirit and values, the other on luxury and conspicuous consumption.”
A couple got married last Saturday, and millions of people watched. The cultural meanings of it all were much discussed; don’t miss The New Yorker’s Doreen St. Félix on the “profound presence of Doria Ragland,” the bride’s mother.
– Rachel Eggers, SAM Manager of Public Relations
Image: Maharaja Abhai Singh on Horseback, c. 1725, Dalchand, Jodhpur, opaque watercolor and gold on paper, Mehrangarh Museum Trust, photo: Neil Greentree.
“The painting is delightful but the content of it is not.” – Donald Byrd
If you missed seeing Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, or if you just can’t enough of these artists—don’t fret! We’ve got works by Robert Colescott and Kerry James Marshall from SAM’s collection on view in our third floor galleries! KEXP DJ Riz Rollins and Executive Artistic Director Donald Byrd have shared some thoughts on these paintings with us. Look through the eyes of these opinionated individuals and continue to consider the questions and lessons that Figuring History explored.
“. . . I think this individual is prescient. Which means he has a sense of something deeper . . . .” – Riz Rollins
“Figuring History is as visually stunning as it is historically significant. For Robert Colescott, Kerry James Marshall and Mickalene Thomas, the show is validation that they succeeded in their passionate quest to make themselves visible. These artists matter and their art will be a beacon for us all, for those who write the histories and create the shows and for those are able to see themselves represented in museums for perhaps the first time.”
“Dealing with themes such as gentrification and the mass media’s (biased) coverage of the events in Charlottesville, the works in A LONE blend poetry and visual art and speak to the intricacies of being alone in a big city full of people. ‘You’re alone together,’ Stinson says. ‘That’s kind of a fascinating thing.’”
“’The decision to do this rests very strongly on my commitment to rewrite the postwar canon,’ Bedford told artnet News. And while institutions sell art to fund new acquisitions every so often, the BMA’s latest deaccession stands out. ‘To state it explicitly and act on it with discipline—there is no question that is an unusual and radical act to take,’ Bedford says.”
As National Poetry Month comes to a close, if you’re not sure what to read, visit the library inside of the exhibition Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, closing May 13. While there you’ll notice a book of poetry by Morgan Parker titled There Are More Beautiful Things Than Beyoncé (Tin House, 2017). It’s a recent favorite read of this particular copywriter and the cover of the first edition (now sold out) featured a Mickalene Thomas artwork. More importantly, within the pages of this smart, irreverent, and deeply personal collection of poetry is a piece inspired by Thomas, reprinted below! Morgan Parker simultaneously brings great depth to listening to Drake and immense weight to racial discrimination as she fearlessly invokes generations of social injustices within her powerful and playful prose. Parker stopped by the exhibition while visiting Seattle and shared some thoughts on Figuring History as well!
We Don’t Know When We Were Opened (Or, The Origin of the Universe) after Mickalene Thomas
By Morgan Parker
A sip of liquor from a creek. Saturday syndicated
Good Times, bare legs, colors draped like
an afterthought. We bright enough to blind you.
Dear anyone, dear high-heel metronome, white
noise, hush us, shhhhh, hush us. We’re artisinal
crafts, rare gems, bed of leafy bush you call
us superfood. Jeweled lips, we’re rich
We’re everyone. We have ideas and vaginas,
history and clothes and a mother. Portrait-ready
American blues. Palm trees and back issues
of JET, pink lotion, gin on ice, zebras, fig lipstick.
One day we learned to migrate. One day we studied
Mamma making her face. Bright new brown, scent of Nana
and cinnamon. Shadows of husbands and vineyards,
records curated to our allure, incense, unconcern.
Champagne is how the Xanax goes down, royal blue
reigning. We’re begging anyone not to forget
we’re turned on with control. We better homes and gardens.
We real grown. We garden of soiled panties.
We low hum of satisfaction. We is is is is is is is is
touch, touch, shine, a little taste. You’re gonna
give us the love we need.
SAM: Reading We Don’t Know When We Were Opened there’s a lot of assonance that creates repetition and fragmentation that feels to me like a sonic equivalent to Mickalene’s visual fragmentation. What in Thomas’ work inspired you and this poem, formally or thematically?
Morgan Parker: I’ve always loved Mickalene’s work, for the glitter and the color and the attention and the audaciousness. Her work is a celebration, and it’s also a politically intentional decolonization of the art history canon. She builds new worlds and revels in those worlds. I wanted my poem to reflect her work and add to it, translate it in my own words.
How do you think the persona poem and the way that Mickalene Thomas casts her models as art historical figures and tropes relate? Mickalene’s figures are looking right at you and this alters their role—makes them dimensional, such as in a painting like Tamika sur une chaise longue avec Monet. Where do you think that same dimension lives persona poems?
God I love this painting. I like to think of all my first-person poems as playing with dimensionality. I’m interested in using the singular figure, or voice, to call up cultural figureheads and historical tropes. Persona poems are an extension of that—they have two first-person speakers.
What stuck with you from your visit to the exhibition? Any lingering or new thoughts?
Kerry James Marshall’s Souvenir I always makes me cry. It was also fantastic to see Robert Colescott’s work in person, as I’ve been thinking about it a lot lately. I love the way it engages stereotypes and recasts history so playfully and comically. In a different way than Mickalene, there’s trickery in acknowledging the audience’s gaze—that’s something I’ll be thinking over for a while.
Morgan Parker is the author of There Are More Beautiful Things Than Beyoncé and Other People’s Comfort Keeps Me Up at Night. In 2019, a third collection of poems, Magical Negro, will be published by Tin House, and a young adult novel will be published with Delacorte Press. Her debut book of nonfiction will be released in 2020 by OneWorld. Parker is the recipient of a 2017 National Endowment for the Arts Literature Fellowship, winner of a Pushcart Prize, and a Cave Canem graduate fellow. She is the creator and host of Reparations, Live! at the Ace Hotel. With Tommy Pico, she co-curates the Poets with Attitude (PWA) reading series, and with Angel Nafis, she is The Other Black Girl Collective. She lives in Los Angeles.
– Chelsea Werner-Jatzke, Content Strategist & Social Media Manager
2. A master of many mediums—Marshall has made work in collage, drawing, murals, and even comic books.
3. Marshall created Rythm Mastr in reaction to the absence of black superheroes in comics growing up. His comic book series features black superheroes with powers derived from gods in the Yoruba pantheon.
4. The first time Marshall saw an original artwork was on a field trip to LACMA in the sixth grade.
5. Black social realist painter Charles White was a mentor to Marshall who considered seeing White’s studio for the first time “a life-altering experience.”
6. Marshall considered a career in children’s book illustration.
7. Ralph Ellison’s novel The Invisible Man inspired Marshall to make his painting Portrait of the Artist as a Shadow of his Former Self.
8. Painted in 1980, two years after Marshall’s college graduation, Portrait of the Artist as a Shadow of His Former Self was the first painting he ever made of a Black figure.
9. Marshall received the MacArthur “Genius Grant,” for exceptional merit and creative works.
10. He knew in kindergarten he wanted to be an artist after his teacher Mary Hill showed the class a scrapbook full of greeting cards, pictures, and other imagery.
Don’t miss Marshall’s work in Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas. These three artists are shaped by distinctive historic events, unique in style, and united in questioning the narratives of history through Black experience. On view until Sunday May 13!
– Nina Dubinsky, Social Media Coordinator
Image: Installation view Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, Seattle Art Museum, 2018, photo: Natali Wiseman.
“So often Black women are made small and the idea of expanding into an exhibition that is so large and so inviting and welcoming is incredible and awe inspiring to see a reflection of myself so large in the world.” – Imani Sims, poet and Central District Forum for Art and Ideas curator
Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas is a chance to reflect on your personal history as well as art history and American history. Take a tip from our Personal Histories video series and spend some time at SAM thinking about how you connect to the work on view because of the history that impacts you. Figuring History brings together three generations of contemporary American artists, whose work challenges a Western painting tradition that underrepresents people of color. The vibrant and monumental paintings by these artists offer bold perspectives on Black culture and representation. Presented together for the first time, the figurative paintings of Colescott, Marshall, and Thomas are shaped by distinctive historic events, unique in style, and united in questioning the narratives of history through Black experience. The exhibition closes May 13, so don’t delay!
Looking for more videos related Figuring History? Check out Youtube to hear from the artists!
“Storytelling is very important in hip-hop and I feel like with [Kerry James Marshall’s] pieces that he has in this room, he’s taking the stories and interpreting it in his way and then also giving the next generation something to look at.” – Stasia Irons, rapper and KEXP DJ
“I immediately recognized what I was seeing as happening in my own neighborhood back home in Mississippi.” – Marcellus Turner, City Librarian of Seattle Public Library