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Muse/News: A Prize for Lauren Halsey, Sites of Power, and Prince in The Rain

SAM News

The downtown Seattle Art Museum will reopen to the public on March 5, just in time for the special exhibition, Jacob Lawrence: The American Struggle. And there’s something else to look forward to: Last week, SAM announced that Lauren Halsey is the recipient of the 2021 Gwendolyn Knight and Jacob Lawrence Prize, which is awarded biannually to an early career Black artist. She’ll have a solo exhibition at SAM in winter 2021. ARTNews, Culture Type, Artdaily, Hyperallergic, Seattle Medium, The Stranger, and The Skanner all shared the news.

Local News

In honor of Black History Month, Charles Mudede and Jasmyne Keimig of the Stranger present “five extraordinary films directed by five extraordinary Black directors” they’ve virtually discussed as part of the Stranger’s Film Club over the past three months. Catch up!

“Funny, anxious, angry, discursive”: Stefan Milne of Seattle Met gets a sneak peek at (Don’t Be Absurd) Alice in Parts, poet Anastacia-Reneé’s new exhibition opening at the Frye Art Museum on February 11.

Margo Vansynghel of Crosscut interviews Natasha Marin about her new virtual exhibition, Sites of Power; part of her ongoing Black Imagination series, it features audio and video testimonies from Black creatives.

“For Black people, these are really unique and special moments because so many of our intersectional identities are sort of subsumed by our phenotypic Blackness,” Marin says. “People don’t want to see us as being possibly more than one thing at once — of both and and— happening all at the same time.”

Inter/National News

Artnet asks a slew of experts to name 12 artists “poised to take off” in 2021. On the list? Lauren Halsey, the LA-based artist just named the winner of SAM’s Gwendolyn Knight and Jacob Lawrence Prize.

ARTnews on Sam Pollard’s new documentary Black Art: In the Absence of Light, which devotes running time to exploring the legacy of artist David Driskell, who curated the landmark 1976 LACMA exhibition Two Centuries of Black American Art.

Julia Jacobs of the New York Times takes a look at the different approaches museums across the country have taken to the pandemic.

“Navigating the pandemic and shifting government responses has not been easy for museums. Some spent tens of thousands of dollars to try to make sure they could reopen safely in the fall for an art-starved public — only to be ordered to close again several weeks later as the outbreak worsened.”

And Finally

“He wants to know if you can make it rain harder”: The oral history of the best Super Bowl halftime show ever.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: land of the sunshine wherever we go, 2020, Lauren Halsey, mixed media on foil-insulated foam and wood, 97 x 52 x 49 inches. Courtesy of David Kordansky Gallery, Los Angeles. Photo: Allen Chen.

Muse/News: Peacock struts, Black joy bottled, and art with an exclamation point

SAM News

Bring on fall arts! Previews of the upcoming season are now on newsstands. Peacock in the Desert: The Royal Arts of Jodhpur, India, is one of Seattle Met’s “35 Events to Catch This Fall” and is on Seattle Magazine’s list of “Everything you need to know about art in Seattle this fall.” Get ready to enter a kingdom of art: Tickets for the exhibition go on sale this Wednesday.

Last week, SAM sent summer off in a blaze of glory at the Olympic Sculpture Park, with the closing celebration of Summer at SAM on Thursday and the 10th anniversary edition of Remix on Friday. Check out Seattle Refined’s photo slideshow of Summer at SAM and Seattle Met’s look at our thrice-yearly arts bash, including an interview with SAM Manager of Public Programs Philip Nadasdy.

Local News

Crosscut’s Manola Secaira on the inaugural art show inside the new Mexican Consulate in the building that formerly housed the Harvard Exit Theatre; the show features ceramics by Adrián Gómez.

The Seattle Times gets us ready for “the hottest Seattle events for September,” including the Hugo House opening, PNB’s Jerome Robbins fest, and some Group Therapy at the Frye.

Another lovely video story from Crosscut’s Aileen Imperial: Hear from conceptual artist Natasha Marin about Ritual Objects, the third in her series of Black Imagination exhibitions about cultivating—even bottling—Black joy.

“And when that joy takes place, it is a resistance. It is a resistance against the narrative that usually defines us.”

Inter/National News

“Is This the Most Powerful Sculpture at the Met?” The New York Times’ Holland Cotter contributes to their ongoing “Why I Love” series with this reflection on a statue that both welcomes and warns.

Jasmine Weber of Hyperallergic reports that after 122 days of union bargaining, the staff of the Museum of Modern Art (MoMA) has secured a five-year contract that secures raises and benefits.

Artnet’s Eileen Kinsella on the Metropolitan Museum of Art’s new exhibition, Armenia!, and what an exclamation point in an exhibition title DOES, exactly.

“Is it a guttural battle cry? A shriek of surprise? A call across a crowded subway platform to an old friend glimpsed boarding a train? A eureka-like shout of stunned recognition that Armenia is the country whose art you long to appreciate the most of all?”

And Finally

Ariana’s Last Supper.

– 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.