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Muse/News: Suiting up, speaking out, and making art

The Seattle Art Museum wants to acknowledge the lives of George Floyd, Breonna Taylor, Ahmaud Arbery and other Black people killed by police. We share in the grief, anger, and frustration that their friends, families, and communities are feeling, which has spread across the country and the world. Read more of our response to the recent events.

SAM News

Last week, Stay Home with SAM serves up social justice binge watch recommendations and freeze dances with Lynette Yiadom-Boakye’s Trapsprung.

Local News

UW’s The Daily shares that the Jacob Lawrence Gallery has launched the fourth issue of the art journal, MONDAY. All pieces were commissioned and edited by resident artist Danny Giles and tackle the relationship of art to race and democracy.

Seattle Met’s Allecia Vermillion recommends ordering takeout from several Black-owned Seattle restaurants.

The Seattle Times has ongoing coverage of this weekend’s protests of the killing of George Floyd, which had their team of reporters and photographers in the streets covering it as it happened. Reporters spoke with Andre Taylor, Rev. Dr. Leslie Braxton, Girmay Zahilay, and other protest attendees. They are also asking protestors to share their stories. And columnist Naomi Ishisaka called for police reform.

“Isn’t the midst of a pandemic — especially one that puts extraordinary stress on people experiencing homelessness and poverty, and people of color — exactly when we need more community responsiveness from the police?”

Inter/National News

Watch this short film, commissioned by the Archives of American Art, in which five contemporary artists—Mickalene Thomas, Jacolby Satterwhite, Maren Hassinger, Shaun Leonardo, and Elia Alba—respond to eight questions for Black artists, first posed by Jeff Donaldson in a historic 1967 letter.

Nick Cave’s Soundsuits debuted in 1992 as a response to the beating of Rodney King. In 2016, he recorded an interview with Art21 in which he talked about a new Soundsuit created in honor of Trayvon Martin. Lately he’s been sharing short videos on his Instagram. Read and watch all about his “suits of armor” in this Artnet story. SAM’s collection includes one of Nick Cave’s Soundsuits.

Artist Carrie Mae Weems is launching a new initiative, reports Artnet’s Taylor Defoe, that “draws attention to how the COVID-19 pandemic disproportionately hurts African American, Latino, and Native American communities.”

“The death toll in these communities is staggering. This fact affords the nation an unprecedented opportunity to address the impact of social and economic inequality in real time. Denial does not solve a problem.”

And Finally

Dreaming about reading outside together.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of Lessons from the Institute of Empathy at the Seattle Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. 

SAM Creates: Dance Like Lynette Yiadom-Boakye Is Watching

Does this painting make you want to dance?! Artist Lynette Yiadom-Boakye paints her artworks, like this one, in a single day based on her memory or imagination. Its sense of movement may make you want to join in and move! Try to pose or stand like this figure. Make sure you have enough space. Is it hard to pose like this? How long can you hold this pose for? Below is a perspective on this artwork from choreographer Donal Byrd. Give it a listen as you think about the painting and also about dance as an art form. Then do some dancing yourself and see if you can sculpt a pose! Find a one-page lesson plan based on this artwork designed for grades K–2 and translated into English, Spanish, and Chinese in SAM’s Education Resource Center catalogue. There’s more where that came from—check out more Look and Make Lessons on our website!

Movement Activity: Freeze Dance

  • Pick one of your favorite songs and have a family member or friend begin playing it. Dance around to the music! Move all parts of your body from your fingers to your toes.
  • Have your family member or friend press pause randomly to surprise you!
  • When the music stops, freeze! You’ve just struck a pose! Hold it until the music starts playing again. 
  • Press play on the music and pause again when you’re ready to strike another pose. This time try something different.
  • Repeat!

Art Actvity: Create a sculpture of a person out of aluminum foil!

Materials

  • Aluminum foil
  • Scissors
  1. Cut slits in the foil: One on the bottom for the legs and two at the top for the head and arms.
  2. Squeeze the middle of the foil to make the waist.
  3. Squeeze each leg and arm to make more of a cylinder shape.
  4. Crunch in the foil on top to make a head.

When you’re done, shape it into the pose of your favorite dance move! Remember how it feels to move like this every time you look at it!

Keep Learning with A Story

Watch I Got the Rhythm by Connie Schofield-Morrison or Hip Hop Lollipop, by Susan McElroy Montanari read aloud. These picture books are about a young girls who are moved by rhythm and dance.

– Lindsay Huse Kestin, SAM Assistant Manager for Kids and Family Programs, Yaoyao Liu, SAM Museum Educator & Lauren Kent, SAM’s Museum Educator for School Programs & Partnerships

Trapsprung, 2013, Lynette Yiadom-Boakye, oil on canvas, 78 3/4 x 70 7/8 in. (200×180 cm). General Acquisition Fund, 2014.11 © Lynette Yiadom-Boakye. Courtesy of the artist and Jack Shainman Gallery, New York and Corvi-Mora, London. photo: Elizabeth Mann.

Art Zodiac: The Balanced Ballerina of Libra

For Libra season I’ve chosen to discuss Lynette Yiadom-Boakye. A British artist whose work focuses on people of color, Yiadom-Boakye’s painting, Trapsprung is currently on view on SAM’s third floor. The subject of the painting is a ballerina with her back to you one leg effortlessly lifted into the air in a battement to the side. More than a painting of grace, Yiadom-Boakye is calling attention to the lack of women of color in ballet, in depictions of ballerinas, and to the racism that accompanies a dark-skinned woman in that métier. Listen to choreographer, Donald Byrd on Trapsprung to hear more about the painting.

Yiadom-Boakye was born in 1977. And guess what? Pluto was in Libra from 1971 to 1983 (excluding a part of 1972 when it retrograded into Virgo for a hot minute)! As I mentioned in last month’s article, in evolutionary astrology, Pluto represents the structure of our soul. It is our actions and thoughts, strengths and weaknesses, all accumulated from our previous incarnations. Because Yiadom-Boakye’s soul is represented by Libra, her paintings can be seen as realizing the need to seek justice for the underrepresented and undervalued black body. Yiadom-Boakye wants to bring balance through social justice. This is what the ultimate Libra archetype strives towards. 

Libra is the 7th sign of the zodiac, and the sun transits the Libra constellation from September 23 to October 22. Libras like to get everyone’s input before they make a decision because they are the sign of “we” as opposed to Aries, the sign of “me.” Libras want fairness most of all. They ask all involved their opinions and needs, and then think through the impact on the group. Once things are balanced in their minds, they make a decision that best fits everyone. Libras use their verbal dexterity and charm to cajole others into agreement so a calm resolution is achieved. If you aren’t being treated fairly, then Libra is the friend to call because they will use their diplomacy and tact to help you out. Libra wants equality so that peace can reign. 

Yiadom-Boakye’s soul-need isn’t to prove herself or be seen for her own power, rather she strives to support equity and social justice through her work.

– Amy Domres, SAM’s Director of Admissions 
Amy is also a Psychospiritual Evolutionary Astrologer and Healer at Emerald City Astrology

Image: Trapsprung, 2013, Lynette Yiadom-Boakye, oil on canvas78 3/4 × 70 7/8 in., General Acquisition Fund, 2014.11 © Lynette Yiadom-Boakye. Courtesy of the artist, Jack Shainman Gallery, New York and Corvi-Mora, London

The Education Resource Center Turns One!

This June, the Ann P. Wyckoff Education Resource Center celebrated its one year anniversary at SAM! We’re proud to have had a fantastic first year here in our brand new space and to have gotten to know our great downtown community.

Formerly the Teacher Resource Center at the Seattle Asian Art Museum, the Education Resource Center (ERC) is a free lending library at SAM. Our goal is to spark creative learning by providing inclusive and engaging resources for learners of all ages. Anyone is welcome to visit and check out our art books, picture books, DVDs, graphic novels, curriculum guides, and Family Fun resources for free to take home with them. In the last year teachers, families with young children, students, community leaders, and more have taken advantage of this fun opportunity.

We’ve welcomed educators into the museum during Educator Preview nights, where they can catch a first glimpse of the latest exhibitions, enjoy food and drinks, and see all of the educational resources the museum has to offer. Museum visitors have enjoyed our new family reading area, where they can stretch out and take a break to read, relax, and play. We are really encouraged by the enthusiastic response to our first ever Family Fun Storytime event. This exciting new program is full of songs, dance, and art as we travel to the galleries to read a story together. During our last storytime, we danced along with Lynette Yiadom-Boakye’s Trapsprung, read some brilliant books, and created our very own drums using tin cans and balloons.

Family Fun Story Time, June 2019

We also launched a few other new programs with families in mind! For families looking for a fun self-guided activity in the galleries, we created our Gallery Reads, which pair a children’s book with a work in the galleries and offer looking questions to encourage creativity and critical thinking. Our new Family Fun Packs will be released later this year and will take you on a longer art adventure where you can make, read, move, and play while connecting to art.

We plan to continue to provide even more books, resources, and programs for you to use in the classroom or at home. So whether you are searching for ways to integrate art into your classroom, the latest storytime books, a documentary on your favorite artist, or a space to relax with your children when you visit the museum, we look forward to welcoming you to the ERC.

The Education Resource Center is open to the public Wednesdays through Saturdays 10 am–2 pm. Everyone is welcome to become a borrower and check out materials from our extensive collection for free. Please email us with questions!

– Jordyn Richey, Wyckoff Education Resource Center Librarian and Educator

Images: Photo: Natali Wiseman. Photos: Robert Wade

Muse/News: Manyness at SAM, nuclear paintings, and the Whitney list

SAM News

Jeffrey Gibson: Like a Hammer is now on view! The Seattle Times featured photos from opening events in their print edition, and Seattle Met, The Stranger, Crosscut, Seattle Gay Scene, and new-to-Seattle art blog The Eye all wrote up the exhibition. What they’re saying:

“Like a Hammer has a manyness, a simultaneous quality that instead of diffusing into some fractured postmodern identity coheres into something singular.” –Stefan Milne

“His practice is largely informed by the ‘in-betweenness’ of the fixed points of identity. And there it blossoms.” –Jasmyne Keimig

“The artist has created a kind of gumbo of new associations, igniting things as disparate as old song lyrics and ab-ex white-boy modernism and indigenous craft with the most vital and urgent of sensations.” –Casey Arguelles Gregory

Seattle Met has their eye on another SAM show, highlighting the upcoming Gentleman Warrior: Art of the Samurai as one of “14 Seattle Events to Catch This Spring”.

Carrie Dedon, SAM’s Assistant Curator of Modern & Contemporary Art, contributed her thoughts on painter Sam Gilliam to this Artsy editorial in honor of Black History Month looking at “The Most Influential Living African-American Artists.”

Local News

Crosscut’s David Kroman and Dorothy Edwards follow Doug Latta during his last delivery of the Seattle Weekly; the paper announced this week that after 40 years, it will cease publication.

Special to the Seattle Times, Becs Richards sits down with Jody Kuehner, AKA Cherdonna Shinatra, to discuss her show DITCH, now on view—with daily performances!—at the Frye Art Museum.

The Stranger’s Jasmyne Keimig reviews Nikita Ares’ solo show of “so-bright-they’re-nuclear” paintings in Sugar Babies Only, now on view at Specialist Gallery.

“Bright, vivid, frenetic hues take precedence above all in her paintings, the oiliness of the pastels are rich, creamy, and dirty. They give off their own heat, resembling the energy she puts into it. There’s no tedium to it nor perfection, just like her.”

Inter/National News

Here’s one more celebration for Black History Month: Hyperallergic’s Jasmine Weber asks seven notable arts figures to name Black artists overlooked by the canon who they cherish.

This year’s Venice Biennale will host Ghana’s first national pavilion. It’s designed by celebrated architect David Adjaye and will feature work by John Akomfrah, El Anatsui, and Lynette Yiadom-Boakye.

The 75 participating artists in this year’s Whitney Biennial were announced this week; the list includes Jeffrey Gibson and Disguise artist Brendan Fernandes.

“To its curators, the 2019 biennial feels very much like a product of its time, with artists ‘grappling with questions about race, gender, financial inequality, gentrification, the vulnerability of the body,’ said Ms. Panetta. But she added that the work in the show mostly strikes a tone that’s less ‘agitprop-like or angry’ than one might expect in 2019. ‘It’s really work that feels more productive, forward looking, with a kind of optimistic and hopeful tenor to it.’”

And Finally

Alert: The Prince Estate has released a library of Prince GIFs. You’re welcome.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Jeffrey Gibson: Like a Hammer at Seattle Art Museum, 2019, photo: Natali Wiseman.

Object of the Week: Trapsprung

As we welcome 2016, SAM nears its 83rd anniversary as an institution. It’s an organization with a rich and, at points, dramatic history. From its early years SAM has also shown a commitment to being part of history as it develops—not becoming a place where we all gawk at history as it gathers dust.

Our founding director, Dr. Richard Fuller, set up a regular exhibition program for living Northwest artists. Much of the gallery space at the Asian Art Museum in Volunteer Park was, in the museum’s formative years, a site for rotating displays of contemporary work. Often Dr. Fuller would purchase a painting from a show on behalf of the museum, using money from his own pocket, but representing the museum, and later very informally accessioned it into the permanent collection. For the artists he deemed worthy, he provided complementary display space and buying power via SAM. In addition to his role as an important patron to Northwest artists—notably Mark Tobey, Morris Graves, and Kenneth Callahan—Dr. Fuller also worked out agreements with some artists to support them through living stipends. He employed some of them, like Callahan, to help him at the museum with installing, packing, and shipping art, or promoting shows in the local papers.

Kenneth Callahan

In the photo above, a smiling, sweeping Callahan oozes appreciation—and he should! While employed by SAM, and with the financial and emotional support of Dr. Fuller, he produced powerful work like First Seed into the Last Harvest (1943), a favorite of mine in Pacific Northwest Modernism.

First Seed Into Last Harvest

Our current director, Kim Rorschach, continues to encourage SAM’s engagement with contemporary art. One acquisition representative of her time at the helm is Lynette Yiadom-Boakye’s Trapsprung (2013), a remarkable oil painting that’s currently hanging in the Brotman Forum near our admissions desk. In the picture, a life-size ballerina emerges from a flat background, full of dynamism and grace in her movement.

Born in 1977, Yiadom-Boakye is a British artist of Ghanaian descent. In her work, Yiadom-Boakye is interested in making interventions in history and reality. Her work features human figures and can be called representational in that sense. The figures are almost always people of color, and they are always posed actively, portraying self-confidence, and not passive presences. They’re figures, but they’re not exactly portraits: Yiadom-Boakye works using her imagination rather than representing specific individuals from life studies or photos.

What makes her work especially compelling is her desire to insert people of color into monumental paintings (and the sometimes exclusive stories that have traditionally played out there), such as her ballerina in Trapsprung. She’s writing a new history, an inclusive one, and it’s freshly assertive, exciting, and imaginative.

Here’s to all that we know 2016 holds—including a blockbuster show for another artist interested in new histories, Kehinde Wiley—and to what we have yet to discover!

—Jeffrey Carlson, SAM Collections Coordinator

Images: Trapsprung, 2013, Lynette Yiadom-Boakye, British, b. 1977, oil on canvas, 78 3/4 x 70 7/8 in., Seattle Art Museum, General Acquisition Fund. Seattle Art Museum Archives. First Seed into Last Harvest, 1943, Kenneth Callahan, American, b. 1905, tempera on canvas, 14 1/2 x 18 1/4 in., Seattle Art Museum, Eugene Fuller Memorial Collection.