That’s a wrap on Jeffrey: Gibson: Like a Hammer. As a farewell, here’s Emily
Zimmerman interviewing the artist for BOMB Magazine.
“I needed to let go
of whether I was an artist or not, and I needed to pursue the things that I
want to see existing in the world that don’t exist. What are the things that
would leverage this world that didn’t meet my expectations?”
Celebrated Brazilian artist Regina Silveira has debuted a new
site-specific installation at the Olympic Sculpture Park’s PACCAR Pavilion
called Octopus Wrap. A glimpse of the
installation process was captured by the Seattle Times’ Alan Berner. Seattle Met and Crosscut also previewed the
installation, which features a series of tire tracks wrapping around the walls,
windows, and floor of the building, looking like the arms of an octopus.
change to the familiar park building embodies elements of play, but also
reminds us of the luxury of presuming our surroundings will always stay the
And Smithsonian Magazine featured the sculpture park on their round-up of the
“world’s most spectacular sculpture parks.”
Seattle’s Office of Arts & Culture announced that Christopher Paul
Jordan has been selected to create the centerpiece artwork for the planned AIDS
Memorial Pathway project on Capitol Hill.
Pacheco Flores and South Seattle
Emerald’s Jessie McKenna both wrote up Alexis Taylor’s Black Among Other
Things, an installation at AURA in the Central District about her
experiences as a Black woman.
The art of food: Chef Brady Williams
won Best Chef in the Northwest at James Beard Awards; the Seattle Times’ Bethany
Jean Clement recently picked up a shift at
Canlis to learn about their legendary service.
“By the top of the stairs, the macaron begins to bobble; on the
penultimate step, it leaps to its death, in its final act somehow managing to
shatter on the soft carpeting. A man seated at one of Canlis’ well-spaced,
snowy-white-linened tables regards me with a mixture of pity and horror.”
But is it CAMP? The
Met’s latest exhibition—and attendant over-the-top Gala—has everyone reaching
for their undergrad copy of Sontag. Here
The Museum of
Contemporary Art (MOCA) announced this week that Mia Locks will be their new senior curator and
head of initiatives;
interestingly, they don’t have plans to hire a chief curator to replace Helen
Nadja Sayej for the
Guardian on Augusta Savage: Renaissance Woman, now on view in New York,
which traces her work as a “trailblazer of African
“She said her
legacy is in the work of her students,” notes Ikemoto. “Even when they didn’t
have money to buy their own art supplies, she let them use hers. She often
said, ‘I know much I was put down and denied, so if I can teach these kids
anything, I’m going to teach it to them.’”
Can we please do something now?
– Rachel Eggers, SAM Manager of Public Relations
Image: Installation view of “Regina Silveira: Octopus Wrap”, 2019, Seattle Art Museum site-specific installation, photo: Mark Woods.