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SAM Connects Community through Letters in Quarantine

Whether seemingly big or small, sustaining connection is more critical than ever. Jenae Williams, Exhibitions and Publications Associate, and Seohee Kim, Division Coordinator for Education and Public Engagement, recently started writing letters to stay connected to their community in quarantine. They’ve shared a Q&A of their wonderful project below.

Not only do handwritten letters support the US Postal Service, brighten up someone’s day, and remind others that they are not alone, but right now your letters can support community by showing love to Chinatown-International District! If you’re feeling inspired, please check out Love Letters to Chinatown-International District #CIDLoveLetters. Share your love letters, and the Wing Luke Museum will collect and showcase submissions in a digital exhibition as part of the Wing Luke Museum’s Resilience Campaign. Deadline is May 18! May is Asian Pacific American Heritage Month so we hope you will take some encouragement and inspiration from this post and write a letter to Seattle’s International District or support the USPS by sending a letter a friend or loved one!

#LettersInQuarantine

What first inspired you to write letters to people in quarantine?

Jenae: I genuinely miss seeing my colleagues at SAM every day, and I was first inspired by my managers Chiyo Ishikawa and Tina Lee, who do so well at checking in on many of us at SAM. Later, I read about how the US Postal Service is in danger of going out of business, which upset me deeply. USPS provides 600,000 jobs, delivers essential items (medicine! voting ballots!), and it’s the only mailing service that reaches every household across the nation, no matter how rural. I am also reminded that compared to private mailing services, sending a letter or priority mail with the USPS service is equitable. It costs me the same amount of money to send a letter to a friend locally as it does to send a letter to my grandma in Hawaii. 

Seohee: I’ve wanted to do something like this for a while, but I’d always brushed it to the back of my mind because I was unsure of when or how to begin. However, after over a month of being indoors and focusing solely on work, I needed a simple but creative outlet to allow myself to detach from the screen and practice self-care. Then, I was having a brainstorming video call with my dear colleague, friend, and muse, Priya, who showed me the beautiful postcards she’d been designing for her close ones. Insert mind spark here. A few days later, I saw Jenae’s heartwarming Instagram story showing support to USPS with her letters to friends and family, and I felt the need to (finally) take action. 

Ellsworth Kelly stamps!

Where can we buy our own Ellsworth Kelly stamps?

Jenae: USPS released these stamps in 2019, so they may be hard to find. But check your local post office. Some locations, like mine, still have leftover sheets in stock. I’m excited for the Ruth Asawa stamps that are scheduled to be released this year! 

Postcard coloring book from Daiso!

Tell us about the stationery/paper that you’re using for this project?

Jenae: I’m using whatever paper I have at home right now. My mom gave me a pad of stationary for this project that pays homage to the early days of airmail so I’m using that first. With this paper, I like that after you’re finished writing, you fold its edges up, and it turns into its own envelope. I also have Hello Kitty stationery from my childhood that I’ll use later as well.

Seohee: I have been a hoarder of all things stationery since middle school, so I’ve been making use of my ridiculous collection. Among the bunch, my go-to have been these Daiso coloring books that have various images of flowers on the front and postcard layouts on the back of each page. In my free time and whenever I’m feeling stressed, I tear out a page to color while bopping to some good ol’ 90s K-pop. It’s been surprisingly healing for me, and possibly the only routine I’ve maintained over the past four weeks.

What was the response to your letter-writing project after you posted about it on Instagram?

Jenae: A lot of people responded with their address, but some just responded to say that they loved the stamps. I’m so glad. Maybe they’ll go out and buy their own. I especially love that I received notes from friends who I haven’t talked to in a long time.

Seohee: Excitement and support! I received quite a few responses from friends around the country with their addresses! To be honest, I wasn’t expecting them to be as open to sharing such personal information, but that might just stem from the trust issues I’ve developed after watching nothing but serial killer documentaries on Netflix for the past two months. 

Write a love letter to the International District!

Have you found writing letters to be much different than writing emails? Any early letter-writing tips?

Jenae: I send work emails every day, but letters are definitely a different form of writing. I’m still learning to embrace the time and thoughtfulness it takes. If your thoughts start to run amok (this happens to me frequently) as you’re writing, just go with it. I have to remind myself that it’s OK to show my inner life sometimes.

Seohee: Yes! I’ve found that they’re much more personal because I’m not writing with a specific intent in mind as I would for, say, a work email. It allows me to pause and really think about each person and what individual messages I want to send that might bring even a tiny bit of joy to their day. Not exactly a tip, but I’ve been having fun picking out individual postcards based on the image of the flower and their meaning. It adds just another hint of personalization to the entire experience. Also, I’ve been laminating my postcards with packing tape before mailing them out so that people have the option to wipe them down with a sanitizing cloth upon receiving them—just another COVID-19 precaution from a germaphobe. 

Finally, what are you hoping to get from all of this?

Jenae: I hope one of my letters will be a bright spot to someone in quarantine and help them feel connected to me/humanity in a small way.

Seohee: I hope something as small as this could be a reason for someone to smile amidst the chaos that has become our new normal. If we can keep the web of connection and small joys going/growing, even better!

Images: Lauren Farris, Seohee Kim, Jenae Williams. 

Community Questions: What Are You Making?

While SAM locations are closed, the SAM Equity Team is asking team members to reflect on how equity and community continue to be central to our work and our lives even as we work remotely. This week, we answer this important question: What kind of making are you doing at this time? Read below for to see how a couple staff SAM staff members responded.

During this unexpected quarantine and the swift closing of SAM, a coworker, Associate Conservator Geneva Griswold passed me a box of items from the Conservation Lab, suggesting a “hands-on” project while I was working at home. The box contents included 1/8″ copper bearing balls and cotton sockinette (a stretchy cotton skin protector used to protect skin under casts). With these items I am sewing weighted bags. These bags are used to hold artwork, photos, or textiles in position while working. They are also useful in providing weighted pressure to hold glued items together while drying. Also referred to as bean bags, print weights, drawing weight bags, etc.

They can vary in size from three inches long up to however long the sewer decides. The process goes like this: I fill a plastic baggy with the desired amount of copper ball trim off the zip lock, apply double sticky tape and then repeat so I have at least 2 bags to prevent spillage and contain them within the sockinette. Now comes the tricky process of carefully folding under the ends of the sockinette and hand sewing. To sew them shut I used embroidery floss along the edge using a running or straight stitch one direction then, pulling the floss tight, sewing the opposite direction. Lastly, carefully tie a knot and add a touch of fabric glue for additional security.

I am pretty happy with the results since I’ve never sewn these before. The museum usually purchases these and, after examining the sample, I’m guessing they are sewn with a machine. It’s been a fun and tactile way of staying in touch with my position at the museum while I am away from the amazing, wondrous collection.

– Monica Cavagnaro, SAM Associate Collections Care Manager


It took me several weeks to finally feel up to making stuff, but I’m starting to hit my groove. I’ve been making masks for family and friends. I’ve also gotten back to my artistic practice with photo collaging. I’m attaching an early version of something I’ve been working on. It’s actually changed quite a bit since this image, which is fun to look back and see.

Traci Timmons, SAM Senior Librarian

Photos: Monica Cavagnaro & Traci Timmons

My Favorite Things: Ramzy Lakos on Amerocco

“As an American Egyptian, born and raised in the Middle-East, living in the US, I could see myself reflected in this piece, which is unique for me, because my identity mostly exists in-between spaces.”

– Ramzy Lakos, SAM Emerging Arts Leader Intern

Under the unique circumstances of SAM’s closure, our amazing Emerging Arts Leader Intern, Ramzy Lakos adapted the culminating tour of his internship into a video! Go inside Aaron Fowler: Into Existence with Ramzy as he shares his personal approach to understanding and connecting with the large-scale work, “Amerocco.” The exhibition is slated to be on view through October 25, 2020, and we hope you will have a chance to experience it in person once SAM can reopen.

Aaron Fowler’s larger-than-life works are at once paintings, sculptures, and installations. They are made from everyday discarded items and materials sourced from the artist’s local surroundings in Los Angeles and St. Louis, among other places. Items include cotton balls, security gates, afro wigs, hair weaves, broken mirrors, djellabas, sand, broken-down movie sets, found car parts, ropes, lights, and much more.

Emerging Arts Leader Internships at SAM grew out of SAM’s equity goal and became a paid 10-week position at the museum designed to provide emerging arts leaders from diverse backgrounds with an in-depth understanding of SAM’s operations, programming and audiences.

Community Questions: How Are You Staying Connected?

While SAM locations are closed, we are still working hard to center diverse voices in all that SAM does. The SAM Equity Team is sharing some of the ways that this is manifesting in the museum, in Seattle, and in our lives by asking team members to reflect on how equity and community building continue to be the center of our work, despite our inability to physically gather at this time. The first question was: How are you continuing to build and stay connected to community during this time?

Here’s how Rayna Mathis, SAM’s Assistant Educator for Teen Programs and equity team member, responded:

My quarantine has been a pretty silent one because I live alone, which means I bounce around my apartment all day with only my thoughts to keep me company. I knew too many days of this would go south real fast. I needed to focus on something to help me build and stay connected to my community in a way that felt authentic and meaningful for me. This led me to building a Little Free Library (LFL). I did my research, went to Home Depot, built the structure, went to Home Depot again, realized I bought the wrong thing at Home Depot, cried, painted, and somehow finished in a week’s time (I call those fine moments the spark notes of the project).

During that week, friends and strangers alike reached out to offer support. It’s been nearly a month since I’ve been working from home and, to date, I’ve received carpentry lessons, supportive texts and messages to keep me going, transportation to put the library in place, snacks from friends who made sure I wasn’t forgetting to eat, monetary donations to support the cost of building materials, Clorox wipes, and wrapping paper to sanitize donations and keep them preserved, and over 300 book donations!

With permission from local business owner, Luis Rodriguez, the library was placed outside of The Station, an activist coffee shop in South Seattle. Though the library is filled with content appropriate for all ages, the purpose for this location was to ensure an accessible way for South Seattle students who are not in school due to the stay home order and/or with limited internet access, to be able to continue to find ways to learn or be entertained at this time. And with generous donations from all over Seattle, The Station has also transformed part of its store into a open pantry for anyone in the community to get groceries for themselves and their families.

When you ask me what community means to me, it’s this. From every corner of Seattle, this work is being done without hesitation and people are showing up before even being asked. There’s less to worry about and more to be grateful for when I know I am a part of a community that holds each other up, and will weather every storm together.

Building a LFL is a project I’ve been interested in for a long time. LFL’s have been there for me in tough or unusual times. Once when I was out of the country and homesick, I stumbled on a LFL in a large mall and the first book I picked up had a dedication from a bookstore in Washington. What were the odds of finding a book from home so far from home? The day a mentor of mine passed away, I passed an LFL in a walk to Green Lake and found a poem by Maya Angelou about death and loss. When I’ve gotten lost in the hectic world, time and time again I was found behind library doors, beneath book covers, inside every page. There is comfort and familiarity in feeling connected across shared love of a book. I hope my LFL brings a feeling of connection to anyone who finds the book they didn’t know they needed in it.

Muse/News: Chiyo’s goodbye, the art of hom bows, and Earth’s mini moon

SAM News

Last week, we announced that Chiyo Ishikawa, SAM’s Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture, will retire this summer after 30 years with the museum. The Seattle Times, KUOW, Artforum, Artnet, ARTnews, Artdaily, and Hyperallergic all shared the news. In Crosscut’s Arts & Culture newsletter, Brangien Davis spoke for everyone when she wrote, “Beloved in the Seattle arts community for her insight, approachability and très chic personal style, Ishikawa will be missed.”

“A Place for Meaningful Cultural Conversations” declared the headline for art critic Lee Lawrence’s thoughtful review of the reimagined Asian Art Museum, which appeared in the February 25 print edition of the Wall Street Journal.

“These 19th-century bululs, or rice deities, from the Philippines once watched over terraced paddies, and they’re among the museum’s most modest yet most powerful works. Given the nature and small size of its Philippine holdings, the Seattle Asian Art Museum probably would have kept them in storage had it opted for a traditional installation. But in another benefit of thematic groupings, they—and other long-warehoused treasures in the museum’s collection—now have a role, enriching the new installation not just with their stories but with their spirit.”

Local News

Seattle-based artist Susie J. Lee is making a short video about what makes a museum “interesting and cool.” The Seattle Times’ Alan Berner captured photos of the recent shoot at the Asian Art Museum.

Crosscut’s new video series, Art Seen, explores “the hidden art of the everyday”; they recently showed us how Mee Sum Pastry makes all those hom bows, day in and day out.

The Seattle Times’ Crystal Paul reviews the new collection of stories by Zora Neale Hurston, Hitting a Straight Lick with a Crooked Stick.

“As a trained anthropologist, Hurston traveled down the East Coast and sat on stoops and corners, the storytelling stages and communal gathering spaces of Black communities, where, with academic rigor and a loving gaze, she listened, studied and collected the stories Black folk tell.”

Inter/National News

Tara Bahrampour for the Washington Post on the Phillips Collection’s Creative Aging program, which helps seniors connect and make art.

Holland Cotter of the New York Times on MoMA’s Donald Judd survey that opens on Sunday, noting that his work “can now be seen to offer pleasures, visual and conceptual, that any audience with open eyes, can relate to.”

Hyperallergic’s Kealey Boyd reviews the exhibition of Chinese contemporary art, The Allure of Matter: Material Art from China; its national tour has now brought it to the Smart Museum of Art and Wrightwood 659 in Chicago, before it heads to SAM this summer.

“It is not often a new category of art historical research is proposed as a solution to these persistent problems, but The Allure of Matter: Material Art from China makes a compelling case for the usefulness of a new analytical structure around Chinese art.” 

And Finally

Earth can have a mini moon (as a treat).

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Scott Areman

A Modern Champion: Virginia Wright (1929–2020)

With a heavy heart, we share the news of the passing of Virginia Wright, a pillar of the SAM family. Virginia and her late husband Bagley played pivotal roles in the development, vibrancy, and accomplishments of the Seattle Art Museum for more than half a century. Beyond being generous contributors, the Wrights’ greatest impact on SAM is seen in the art of the collection and in the art shown. Virginia was among a very small group of people who, in the 1960s, pushed SAM to create its first modern and contemporary art program. Virginia and Bagley also contributed to the purchase of many important acquisitions over the years. Above all else, the Wrights amassed one of the most important collections of modern and contemporary art in the world (over 200 works), all purchased with SAM in mind as the collection’s eventual home. When the bulk of it came to SAM in 2014, forming the backbone of its modern and contemporary collection, SAM was transformed from a great institution into a truly remarkable one.

Earlier this month, Virginia said, “When I think about the future of the Wright Collection at SAM, I put my trust in the artists. I trust that future generations will value their work, that SAM will continue to provide meaningful access to it, and that the conversations that their work has inspired will continue.” We are honored by her faith in Seattle’s museum and, because of her support over the last 60 years, we are confident that we can live up to the legacy she established.

Born in Seattle and raised in British Columbia, Virginia went East for college and majored in art history. Out of college, she worked for Sidney Janis Gallery in Manhattan and began collecting art. Mark Rothko’s abstract painting Number 10 (1952) was one of her early, daring purchases and it is now part of SAM’s collection.

Virginia has been a SAM member since 1951. She began docent training in 1957 and led her first public tour in 1959. In 1959, the Wrights made their first-ever gift to SAM’s collection: Room with White Table (1953) by William Ward Corley. That year they also provided funding for SAM to acquire Winter’s Leaves of the Winter of 1944 (at the time titled Leaves Before Autumn Wind) by Morris Graves.

In 1964, she and a group of friends persuaded then-director Richard Fuller to let her start the Contemporary Art Council (CAC), a group of collectors at the museum. For the next decade, it functioned as the museum’s first modern art department. The CAC sponsored lectures and supported the first exhibitions of Op art and conceptual art in Seattle. It also brought the popular Andy Warhol Portraits exhibition to Seattle in 1976, among many other important exhibitions. Her role in bringing great art to the Seattle Art Museum also involved the curation of two solo exhibitions for Morris Louis (in 1967) and William Ivey (in 1975).

Virginia joined SAM’s board in 1960, making 2020 her 60th anniversary with the Seattle Art Museum. She temporarily stepped away in 1972 when her husband Bagley joined the Board and rejoined in 1982. She served as President of the Board from 1987–90. Virginia was President of SAM’s Board of Trustees from 1986–1992, years that coincided with the construction and opening of the downtown Robert Venturi building in 1991—the museum’s first major transformation since its opening in 1933 and a major shift in Seattle’s cultural life to downtown First Avenue (with the Symphony soon following).

In 1999, SAM mounted an exhibition of the Wright Collection (The Virginia and Bagley Wright Collection of Modern Art, March 4–May 9, 1999). The Wrights’ entire art collection—the largest single collection of modern and contemporary art in the region—has been gradually donated (and the balance of the collection promised) to the Seattle Art Museum. A significant portion of the collection came to the museum in 2014 when the Wrights’ private exhibition space closed.

When the Seattle Art Museum opened the Olympic Sculpture Park in 2007, many works from the Wrights’ collection were installed there, including Mark di Suvero’s Bunyon’s Chess (1965) and Schubert Sonata (1992), as well as works by Ellsworth Kelly, Tony Smith, Anthony Caro, and Roxy Paine.

SAM’s ongoing exhibition Big Picture: Art After 1945 draws from the Wrights’ transformative gift of over 100 works and is a reminder of their incredible generosity.

Virginia was an active board member up to the end of her life, regularly attending meetings and advising the museum in many important endeavors. About SAM Virginia said, “It’s always been the main arena. I never wanted to break off and start a museum. I wanted to push the museum we already had into being more responsive to contemporary art.” And SAM would like to acknowledge that she did just that, leaving an undeniable mark on the cultural landscape of the entire Pacific Northwest.

As Amada Cruz, SAM’s Illsley Ball Nordstrom Director and CEO, says, “Even having only been in Seattle for a short time, it’s clear that Virginia Wright’s impact on the city and on SAM is beyond measure. Her legacy, and that of her late husband Bagley, is seen in both the very walls and on the walls of the downtown museum, and it fills the Olympic Sculpture Park’s landscapes. I’m honored to have been able to know her and of her hopes for SAM’s continued future.”

Lauren Farris: Emerging Arts Leader Intern Look at SAM

“Vulnerability” has been a bit of a buzz word ever since Brené Brown’s TED Talk, “The Power of Vulnerability.” Having watched Brené’s TED Talk and read one of her books, I value vulnerability a lot, but being vulnerable myself can still feel fairly nerve-wracking. So when the other Emerging Arts Leader Intern and I were asked to lead a My Favorite Things Tour, little did I know that the next 10 weeks would also include a road trip down vulnerability lane. 

When I first heard about the tour, I thought this tour would remain in the realm of theoretical, academic concepts. To be fair, a large part of the process involved researching the history behind each piece, utilizing resources from SAM’s libraries (thanks, Traci, Jordyn, and Yueh-Lin!), and meeting with curators (thanks, Pam and Chiyo!). But along with the historical research, our mentors and colleagues, Rachel, Seohee, David, and Priya (thank you all!), encouraged us to delve vulnerably into our stories and weave them into each piece. 

Because of this, I began asking myself some questions about my story, including being mixed race. For a while, I’ve been nervous about my voice because being mixed race often feels like a grey area between two distinct points of view and voices in society. But as I worked on the tour, each of our mentors and countless people shared their time, insight, stories, and vulnerability to help me process, ask deeper questions, and craft the content of the tour. Without them, the tour and this blog post would look entirely different. 

Not to mention, I’ll always cherish the times the other Emerging Arts Leader Intern, Cat, and I practiced nearly 50 versions of our ever-evolving tour with each other. Because our tours delved into more personal topics, we became each other’s support and cheerleader through a lot of ups and a few downs. Together, we also arranged informational interviews with staff across many departments, assisted at events like SAM Remix, DragonFest, and Summer Institute for Educators, and attended department and equity team meetings. I learned so much from working with Cat (miss you!) and love the ways in which SAM values and integrates collaboration. 

Throughout this entire internship, I’ve learned so much about museums, equity work within museums, and about myself. The interdisciplinary focus provided the opportunity to learn about many of the departments that comprise SAM. All throughout and above the galleries, it’s inspiring to see how many dedicated individuals play a role – from fundraising to checking coats to communicating with the press to leading student tours—to make SAM the museum that it is. 

I also learned a lot about equity work in museums that I didn’t know before. I’ve realized that it’s not enough to know some terms or read some papers or books, but it takes the vulnerability to ask myself the same questions within these papers. And it takes the bravery to answer these questions honestly. 

SAM gave me a safe space to ask questions and come from a posture of growth and progression rather than perfection. More than ever, I’ve learned how crucial and empowering it is to connect with people who share both similar and different experiences. The ways that SAM strives for equity within education, programming, exhibitions, staff, and every part of SAM is inspiring. SAM is opening up dialogue, asking themselves, and others, critical questions, and aiming to lead and learn with each step towards furthering inclusivity and equity. SAM taught me that it takes vulnerability and guts to genuinely look at equity within ourselves in order to implement equity institutionally and beyond.

Thank you from the bottom of my heart to everyone who made this internship so special. And guess what? I’m so grateful, honored, and thrilled to continue on with SAM’s amazing Development Team as a Campaign Assistant! See you around!

– Lauren Farris, SAM Campaign Assistant & 2019 Emerging Arts Leader Intern

Photos: Natali Wiseman.

Twice as Nice: SAM Staff Artists Tie FTW

Every year Seattle Art Museum’s Community Gallery is dedicated to artwork by its staff and the eclectic outcome is a thing of true beauty—as colorful and strange as all the art lovers and artists that work here. This year, in a true testament to the volume of excellent work that was on view July 31 to September 1, not one but two talented SAM staff members were voted as faves by their peers. Ashley Mead, Assistant Registrar-Rights and Reproductions, and Natali Wiseman, Design Studio Manager, tied for our hearts this time around. Learn more about these two artists their obsessions with color, and their love for SAM’s Australian Aboriginal collection in this interview!

SAM: How does this work fit into your larger artmaking practice? Have you always worked in this medium?

Ashley Mead: It doesn’t? Or rather, because I’m inconsistent in my practice it totally fits with my larger artmaking practice. I just couldn’t tell you how. I’ve worked with paper for a few years and in collage for one year, and only because I agreed to do a portrait before I remembered that I can’t draw. Other than that, I dabble in just about every medium I can get my hands on—hence the inconsistency.

Natali Wiseman: I have always painted, but this is the first painting I’ve made in a few years. Previously I did a lot of really detailed illustrative painting, which completely broke me, so I took a long break. I wanted to try something a lot looser with less clean edges. Playing with dimensional paint was fun and new. For the last several years I have mostly been doing screen printing and collage, so it was nice to get back into painting.

What inspired the piece in the art show? Is there a story behind the work or is it part of a series?

Mead: It’s based on a photo of me, Ted, and Michael Besozzi taken at the Smith Tower on my birthday two years ago. We looked so good I wanted to know what we’d look like in paper—we’re definitely more colorful and less serious in this work than in the photo.

Wiseman: I have a 1960s craft book from my mom that has detailed instructions on making “chemical gardens”, also known as ammonia gardens (or sometimes you can buy them in kits, called “magic gardens”). The gardens are these melty piles of color, which I felt compelled to paint with overgrown fungal-looking flowers. There is something interesting to me about creating synthetic gardens.

What artists or artworks are inspirations to you in general?

Mead: Oh goodness. I’m a fan of color, that’s probably the biggest thing that draws me to a piece or artist. Specifics though, Van Gogh has always been a favorite. Mickalene Thomas is a more recent love. Oh, and I love our Australian Aboriginal collection. That’s just a short hodgepodge list.

Wiseman: This is hard! Color is a big deal for me. I love Sister Corita Kent’s work. I really like the Light and Space movement and color field painting. I also love Judy Chicago, Lynda Benglis, Richard Tuttle, Kenneth Noland, Jack Whitten, Gehard Richter, Wayne Thiebaud, Helen Frankenthaler, David Hockney . . . I suppose there could be a theme there. I love surrealism, particularly Rene Magritte, Man Ray, and Leonora Carrington. At SAM, I find the work in the Aboriginal Australian gallery to be very inspiring and meditative.

What other art projects are you working on right now or looking forward to?

Mead: All of them! I have about a half dozen commissions and half-million ideas, so good luck to me on figuring out what to focus on next.

Wiseman: More gardens, and I have some collages in the works. Hoping to do more large-scale screen printing, too. And I really want to get into ceramics! 

– Chelsea Werner-Jatzke, SAM Content Strategist & Social Media Manager

Photos: Lawrence Cenotto

Cat Vallejo: Emerging Arts Leader Look at SAM

Very early on in my role as one of SAM’s Emerging Arts Leader Interns, our mentor, David Rue, asked us to write down three personal or professional goals we wished to achieve during our time here at SAM. To be completely honest, I was all over the place during the first few weeks, as I was struggling to find where I fit into the museum to be a successful intern. Despite feeling this way, the one thing that I was certain and hopeful for was to make SAM a place I happily call home: be a part of SAM and SAM be a part me.

As a student at the University of Washington Bothell, being my whole self and feeling at home is what truly made me happier than I ever imagined. In order to feel that same happiness at SAM, I tried to be fully present by having a positive mind and heart. I reminded myself to be my bubbly and kind self and to be comfortable with the people around me. This was way easier said than done.

On top of feeling like a lost intern, I was already struggling with adjusting to a lifestyle that was the exact opposite of what I was used to. I wanted to be a big fish in a little pond that everyone looked up to for guidance. However, being in a new, urban city where nobody really knew me meant this wasn’t the case anymore. I felt lost between the Cat that grew up in California and the adult Cat that lives in Washington. Where would I go? Who am I supposed to be? With all these new changes and heavy feelings, I thought to myself, “I don’t how I’m going to achieve my goal or if I’m even going to get there. Good luck.”

Priya Frank and Seohee Kim are the two mentors I give all my gratitude to for guiding me through my struggles. Talking to them made me realize that I was still a tiny fish in a huge pond that needed to be willing to grow and learn from others. This was a reminder to be humble and to remember that learning and growing never stops, even when you think you’re at the top. Growing only starts when you are uncomfortable, yet willing to feel and embrace that discomfort with an open mind and heart to learn something new. Their kind words of wisdom touched my heart.

After this realization, I started to feel like I could reach my goal. The big project we had the opportunity to do was the My Favorite Things Tour. For this project, I researched different art pieces, connected them to real-life experiences, centered everything around a specific theme, and proudly presented my work to the public. Wow! I will always remember our first practice of walking around and talking about the different artworks we had in mind for our tours. I knew I was on the right track in connecting the art to my personal journeys, but there was much more research and practice that needed to be completed.

After this practice I was motivated to reach out to the curators to learn more about the different art pieces, which was exactly what I did. It was so inspiring getting to hear from and learn from the curators and see how passionate they are. I also learned more on my own by reading books about the artwork and artist. Most importantly, completing all the work would not even be half of what it was without my fellow colleague and friend Lauren Farris, the other Emerging Arts Leader Intern. Working closely with her gave us the space to learn from each other’s personal and professional experiences, all while sharing this internship together. I remember practicing our tours in the galleries, just talking through them while sitting down, and always changing our art pieces and stories every time we practiced. Being by each other’s side allowed us to be vulnerable and really push through to make these tours happen.

When the day finally came, we were there for each other to see all our hard work come to life. That is just so amazing to me because there were so many people and experiences collaborating to create something great. Swimming with the big fish was not so scary after all. As I said during my tour when I was talking about Childe Hassam’s Spring on West 78th Street, “from this painting and my experience with my SAM family, I learned that home is not a place, but a feeling.” Saying these words with my whole heart, showed me that I was able to reach my one and only goal, despite being so lost in everything else. This internship was more than I hoped for and now that it has come to a close I can truly say that I was a part of SAM and SAM will always be a part of me. SAM is a place I happily call home.

Cat Vallejo, SAM 2019 Emerging Arts Intern

Photos: Natali Wiseman