All posts in “seattle asian art museum”

New Design Brings History to Light: Seattle Asian Art Museum

One of the most important sources of design inspiration for the Seattle Asian Art Museum’s renovations is the incredible place where it resides: Volunteer Park. It’s been more than 100 years since John Charles Olmsted conceived of Volunteer Park’s design. Yet, it continues to be the city’s most intensely used park—and an essential consideration within the museum’s renovation project that has involved input from national, city, and community groups that include Friends of Seattle’s Olmsted Parks, the National Park Service, Seattle Parks & Recreation, and Volunteer Park Trust.

“We took a lot of cues from the Olmsted plan and their design intent, their aesthetic and some of the principles they brought to planning all of the trails and pathways within this park,” explains Chris Jones, principal at Walker Macy, the firm overseeing the renovated landscape design. He continues, “In lieu of putting in plazas around the museum, we’re grading the landscape in a way that maintains the recreation that occurs onsite, really supporting the character of the park as the Olmsteds would, emphasizing a nice pastoral landscape with open lawn and trees.”

In addition to their importance within the pastoral aesthetic, trees intersect with the design process in another way. The design team has been working with the guidance of an onsite arborist, who has been integral to the renovation processes by making recommendations for construction methods and identifying important root areas to avoid, in order to best support the trees’ health.

 

The pathways surrounding the museum are also central to the Asian Art Museum’s landscape renovation plan. This includes creating safer traffic circulation around the museum, constructing a more direct connection between the museum and public transit on 15th Avenue, and improving accessibility to the museum. The plan also realizes two pathways that were in Olmsted’s original plan for Volunteer Park but were never fully established, an element that was developed in response to community groups’ input on the design. Jones says, “The intent was to provide each park-goer with an improvement that’s visible on a daily basis . . . I think we achieved that by coming to a really happy consensus that reflects the input from the community.”

In the months ahead, we will continue exploring the future of the Asian Art Museum as the renovations progress towards the much-anticipated re-opening in 2019.

– Erin Langner, freelance writer

Images: Photo: Eduardo Calderon. Photo: Natali Wiseman.
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Donor Spotlight: Abe Lillard & Julia Kalmus Support Seattle Asian Art Museum

No matter where you’re from, SAM can become your local museum—take it from Abe and Julia. Hailing from Philly and Tennessee, their passion for Asian art got them involved with the Gardner Center for Asian Art and Ideas when they relocated to the Seattle area. They have donated to support the renovation and expansion of the Seattle Asian Art Museum and can’t wait for it to reopen later this year. Learn more about the exciting and expanded programming that the museum will be able to host thanks to the support of donors like these, and how it can connect your life to art!

The importance of Seattle Asian Art Museum to the cultural history of Seattle, really to the entire Pacific Rim, cannot be overstated. Julia and I were both active as board members with the Albuquerque Museum during our time in New Mexico. Julia grew up in Philadelphia and lived in New York City and museums were a large part of her daily activities as a child and also as an adult. I grew up in rural East Tennessee where there were no museums, so we’re both acutely aware of how much value art and cultural museums can add to a community. We just knew that, on moving to Seattle, we would both get involved. After her career as an attorney in New York, Julia obtained an MFA in art history from the University of New Mexico. We’re both students of the Chinese language, which provided our initial draw to the Seattle Asian Art Museum. The highlight of my experience with the museum would have to be the privilege of volunteering with Sarah Loudon at the Gardner Center. Both Julia and I are both quite excited about the reopening of in late 2019.

– Abe Lillard & Julia Kalmus

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Muse / News: Bergman’s gravitas, an elegy for the viaduct, and the walls of a Seattle collector

SAM News

There was lots of love last week for The Magic Lantern of Ingmar Bergman, a film series full of “grim existential gravitas” playing every Thursday through March 14. It was recommended in Seattle Met’s “What to Do After Work” and in The Stranger’s “Complete Guide to January 2019 Events.”

“Oh, hey, and they’re showing one of the most traumatizing movies about relationships ever made, Cries and Whispers, on Valentine’s Day. Happy coincidence?”

Strike a pose, Seattle Asian Art Museum! The renovated and expanded museum set to reopen this fall is included this Vogue wrap-up on “The Best New Places to Eat, Stay, and Play in Seattle.”

Local News

Seattle artist and professor Robert C. Jones recently passed away at the age of 88; his work soon goes on view alongside the work of his wife Fay Jones in dual shows at G. Gibson Gallery and James Harris Gallery.

“An elegy to the viaduct on the eve of its passing.” For Crosscut, it’s the brilliant Lola E. Peters with a poem for the viaduct (1953-2019).

Seattle Met’s Stefan Milne asks the important question, “What’s Inside the Weird White Boxes at Third and Virginia?”

“What’s interesting about Light as a Common Thread is that the narrative imposes a new gloom around Hogan’s pieces while they’re still in a gallery. Instead of being championed, they’re doomed.”

Inter/National News

Here’s Artsy’s Julia Wolkoff with an editorial on “Three Ways Art History Needs to Change in 2019.”

Art & Object takes a look at Night Coming Tenderly, Black, a new series by photographer Dawoud Bey of twilight landscapes taken at stops along the Underground Railroad.

Shaun Kardinal, artist and lead web developer at Civilization, was featured in Show Us Your Wall, the New York Times’ recurring series exploring art collections.

“I don’t think of them as investments. I only get things that I love. I do know that that piece, Royalties Wanted, by Anthony White, would probably go for three or four times what I got it for.”

And Finally

Know her name! TIFF schooled me—a self-proclaimed Film Nerd—with this amazing thread on queer feminist film pioneer Dorothy Arzner.

– Rachel Eggers, SAM Manager of Public Relations

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Muse/News: Party crashers at SAM, Seattle’s Instagrammable library, and Zanele Muholi’s self-portraits

SAM News

Claire Partington: Taking Tea is now on view! This site-specific installation brings out the untold human stories of the 1,000 European and Asian porcelain pieces in SAM’s Porcelain Room, reminding viewers of the reality of precarious ocean voyages and human exploitation. Brangien Davis of Crosscut offers this review of this “intervention” that will be on view for the next two years.

“Now, smack in the middle of the room — unprotected except by a guard at the door — stand six ceramic people in old-fashioned dress, positioned as if having tea. Suddenly, our focus is shifted to the figures, who don’t have any teacups in hand, but seem to get their pick of the room. These party-crashers might just change the space forever.”

This Thursday, light up the dreary days of December with SAM Lights. The Seattle Times has all the details on this annual event in their feature, “Holiday sights light up the night.”

Local News

The Seattle Times’ David Gutman talks with artist Laura Hamje about why she can’t stop taking pictures—and making paintings—of the Alaskan Way Viaduct.

Volunteer Park Trust and Kaiser Permanente announced a new partnership in support of programming at the Capitol Hill park that also houses the Seattle Asian Art Museum.

Brangien Davis of Crosscut has a great story about the Central Library, which was just named the “most Instagrammable library” in the world.

“A recent Tuesday afternoon at the library didn’t turn up a single photo snapper. Instead, people could be found using the lofty building for a range of purposes: a man excitedly picking up a stack of books that had just come available; a chatty cluster of folks having coffee at the cafe; people with all their belongings in bags using the computer stations in the so-called Mixing Chamber; a young adult practicing violin in one of the reservable music rooms; one woman seeking documentation of the Alaskan Way Viaduct’s debut; another in search of a name steeped in Seattle history for a new restaurant.”

Inter/National News

Roberta Smith, Holland Cotter and Jason Farago of the New York Times look back at “The Best Art of 2018,” including Hilma af Klimt at the Guggenheim, Charles White at MoMA, and Delacroix at the Metropolitan Museum of Art.

Hyperallergic broke the news that a board member of the Whitney owns a company that produces tear gas that’s been used at the border; both the Whitney staff and its director have offered their powerful replies.

Yrsa Daley-Ward of the New York Times reviews Somnyama Ngonyama, Hail the Dark Lioness, the new book on South African artist Zanele Muholi; the portrait exhibition comes to SAM in 2019.

“If storytelling is one of humanity’s most powerful gifts, then visual activism feels like alchemy. Especially when the work in all of its detail, subtle or overt, moves you in a way you don’t all the way understand.” 

And Finally

The most wholesome content on the Internet last week happened at SAM.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view of Claire Partington: Taking Tea at Seattle Art Museum, 2018, photo: Natali Wiseman
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Shawn Brinsfield stands in front of the original Camel scultpures at Seattle Art Museum

Donor Spotlight: Shawn Brinsfield Supports the Asian Art Museum

It’s nice to know that our community also thinks the future of the Seattle Asian Art Museum is going to be cool! More than the critical infrastructure updates to the Art Deco building that won’t be very apparent to visitors, there’s the long history of Asian culture in the Seattle area made visible at the museum. To Shawn Brinsfield, the modest expansion on the back of the Seattle Asian Art Museum is a physical commitment to expanding the understanding and appreciation of Asia. Read why the Asian Art Museum matters to this donor, learn more about the project, and stay up to date on the progress of the renovation and expansion of the Asian Art Museum.

The new Seattle Asian Art Museum is going to be very cool with more space for SAM’s growing collection, better flow and open ‘look-throughs’ to the outside. I take art lessons and sometimes they take us to Volunteer Park to draw; so I look forward to sitting on my chair outside near the trees and drawing the new large glass-walled rear addition of the museum. Ok, full disclosure—I am still just learning to draw; but it will be fun viewing Asian Art Museum visitors fishbowl-like.

The average museum-goer may not appreciate the museum’s new sophisticated climate control environment, which gives the art ‘eternal life.’ Sometimes I think about the centuries of artists who made the works inside the museum. What kind of challenges and human pressures did they have? I wonder how they would react, knowing that their year-after-year sweat and toil and evolution as artists would be preserved by loving and meticulous conservationists today. It’s my understanding that the Asian Art Museum will be an important national center of conserving Asian art. And conserving art is actually a fascinating process. Really!

My mom and her family are of Japanese descent. They were living a full life here in Seattle back in the ‘good old days.’ Grandma Benko Itoi wrote tanka poetry, the family attended art events at the Nippon Kan Theater, they danced in traditional ways at the Bon Odori. Then when World War II broke out they were compelled to destroy most things related to their Japanese culture. So, 75 years later, it’s important to me to support the expansion of Japanese and Asian culture in the Seattle area.

All the art at the Asian Art Museum tells stories of history, ideas, and ways of life. In addition to enjoying the exhibitions on wooden block prints, folding screens, and Chinese scrolls, I have loved going to the Gardner Center’s Saturday University Lecture Series and listening to experts from all over the world. I value this, especially since I help recruit speakers for an Asian art and history group in Florida.

As for the future of the Asian Art Museum, I expect that the Asian Art Museum’s growth will mirror that of Asia’s increasing presence on the world stage. I hope that it continues expanding its collection of South Asian art and continues reaching out to the growing South Asian community here in the Northwest; as well as reaching out to the non-Asian community. My spending time in India on several trips has had a significant impact on my mind and behavior. I include, in my daily life, some practices and rituals which are indigenous to India and South Asia. I have a warm and friendly feeling towards the people and culture of South Asia.

– Shawn Brinsfield

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Volunteer Spotlight: Leanne Hawkins

Volunteers make SAM go! Some of our docents, like Leanne Hawkins, have been volunteering since the 1980s when SAM’s only location was our original home in Volunteer Park (now one of our three locations, Volunteer Park is home of the Seattle Asian Art Museum). Every volunteer has their own reasons for contributing their talents to SAM. For Leanne, the opportunity to see art across centuries through the eyes of children and youth always allows her to learn something new about an artwork. Our Manager of Volunteers asked Leanne some questions so you can get to know her and get familiar with the important role SAM’s volunteer play in the museum.
 
SAM: What is your current role?
Leanne Hawkins: I am the Docent Executive Committee (DEC) chair, though my title as part of the SAM Volunteer Association Executive Committee is Docent Program Chair.
How long have you been volunteering at SAM?
Counting my year of docent training in 1998, plus perhaps a year or so volunteering once a month on Thursday nights in the early 1980s at the original SAM, I’ve been a SAM volunteer for about 21 years.
Why is the Seattle Art Museum (SAM) important to you?
My association with SAM has provided so many ways to learn about artists, eras, cultures, and perspectives that are new to me, or different from what is comfortable for me, and I appreciate the opportunities to be delighted, amused, sometimes upset—but never bored. Most of my docent tours are with school groups, ranging from kindergartners through high schoolers, and I love seeing SAM and its myriad objects through their eyes and reactions—I always learn something new, for which I’m grateful.
What is one of your favorite artworks in SAM’s collection, and why?
This is tough. I feel a kinship with so many of the works. But one of my all-time favorites, which I hope comes back on view soon, is Some/One by Do-Ho Suh. For those who may not have seen the piece in a while, it looks like a chainmail tunic on steroids—the skirt can overflow a gallery space. From a distance, it’s elegant, evocative, imposing. When you get closer and find out that the “chainmail” is thousands of dog tags, each individually stamped with a name and ID number, all of which are made up—well, it provokes a lot of intense looking and thoughtful discussion.
When not at SAM, what do you do for fun?
My favorite non-volunteer activities are reading, doing needlework, attending concerts and lectures, weeding the yard, and walking in places near and far from home.
What is something that most people might not immediately know about you?
I’m often told that I seem calm and organized, but I’m actually quite emotional and reactive. Raising two sons helped me perfect my poker face.
What is a simple hack, trick, or some advice that you’ve used over time to help you better fulfill your role at SAM?
As a docent, I see my role as a facilitator. I’m here to help people, especially children and youth, feel more comfortable thinking about and responding to art. To do that, I supply a framework for guests to look and ponder, and then I try to ask questions that stimulate robust discussion. I also try to have fun, a bit of self-deprecating humor often sets people at ease in the museum.
– Danie Allinice, Manager of Volunteer Programs
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Seattle Asian Art Museum: A Storied Past Inspires a Bright Future

“Renovating a museum that is an architectural icon is no small task,” explains Sam Miller, Partner at LMN Architects, the firm overseeing the Seattle Asian Art Museum’s renovation and expansion design. Preservation of the landmark building is essential, but modern demands necessitate change. These changes include improved ADA accessibility, seismic and climate control upgrades, and other electrical/mechanical controls imperative to present-day museum standards. The renovation features a modest expansion that adds exhibition and educational space, allowing the museum to better serve the community.

The Art Deco building is considered one of architect Carl F. Gould’s greatest achievements. “Our goal has been to impact the existing spaces as minimally as possible,” Miller says of LMN’s approach to the renovation process. “When there’s any new intervention that’s not replicating or preserving the historic architecture, we’re distinguishing the work with a more contemporary detailing so it’s clearly different from the building’s historic fabric.”

Gould’s original design serves as inspiration to LMN’s renovation plan, as does historic Volunteer Park, designed by the Olmsted Brothers landscape architectural firm in 1903. “There is this beautiful building in a beautiful historic park, and yet the two weren’t connected. We felt restoring some of that connection would be a great opportunity,” Miller says.

He explained how Gould’s design incorporated skylights that flooded the galleries with light, as well as windows with views into Volunteer Park. However, later building additions and a transition towards artificial lighting closed off many of those elements. The renovations will include LED light boxes that allow display of light-sensitive objects in an environment inspired by the original skylights. LMN also designed a glass lobby addition that improves building circulation while also providing park views. Conceived by Gould as an indoor-outdoor space, the Fuller Garden Court will also offer those views, through two new openings that will connect it to the lobby. “As you stand in the Garden Court, you’re going to have this incredible view of the park,” Miller says.

The community was integral to the design process. SAM received feedback from the City, local parks groups, and other community members. In addition to suggesting changes to a building staircase and landscaping that were incorporated into the final design, the community also led the museum back to an important source of inspiration—the Olmsted Brothers’ historic design for Volunteer Park pathways. In response to this feedback, SAM is restoring a set of Olmsted-designed paths. This opportunity to complete and augment these walkways through Volunteer Park speaks to the nature of the restoration project: historic preservation that has led to design inspiration.

In the months ahead, we will continue exploring the future of the museum as the renovations progress towards the much-anticipated re-opening in 2019.

– Erin Langner, freelance writer

Images: Eduardo Calderón.
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A Dedicated Collector: Griffith Way (1920–2018)

The Seattle Art Museum is saddened to have lost a tremendous friend of the museum. Griffith Way was appreciated for his gentle nature combined with fine humor that enriched everyone who knew him. He became a Trustee of the Seattle Art Museum in 1995 and received honorary distinction in 2009. A graduate of the University of Washington, Griff was part of the first graduating class specializing in Japanese law. He was also an Adjunct Professor, University of Washington School of Law and spent decades periodically practicing law in Tokyo. In 2007, he was honored with the Order of the Rising Sun by His Imperial Majesty Emperor Akihito of Japan in recognition of his long-standing support to increase economic and cultural development between the United States and Japan.

Early in their years in Japan, after the conclusion of WWII, Griff and his wife, Pat, became interested in the then-new style of modern Japanese painting executed in traditional media and formats, known as nihonga; a late 19th-century style among artists seeking both cultural continuity and to address Japan’s emergence as a modern nation. Griff and Pat went on to develop a remarkable nihonga collection that they have shared broadly with the public.

In winter of 1999, SAM welcomed Modern Masters of Kyoto: The Transformation of Japanese Painting Traditions, Nihonga from the Griffith and Patricia Way Collection presented at the Seattle Asian Art Museum. Their gift to SAM of 150 nihonga paintings has made SAM the repository of the largest collection of nihonga outside Japan.

As a member of SAM’s board, Griff served as Chair of the Seattle Asian Art Museum Committee and then as Honorary Chair of the Seattle Asian Art Museum Campaign Committee. As Trustee Emeritus of the Blakemore Foundation, Griff facilitated critical funding from the Foundation, which has supported SAM since 1992, most notably through the Blakemore Internship Program for Asian Art at the Asian Art Museum.

Griff’s unwavering dedication to the Seattle Asian Art Museum will be remembered by the museum and community in a future reading area named in his honor, of our McCaw Foundation Library. Griff’s commitment to Asian art and culture will continue to inspire us and our role in connecting with Asia as never before.

Photo: Team Photogenic
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