All posts in “Seattle”

summer-at-sam

Sun’s Out, Fun’s Out: Five Exciting Things to See & Do at the Olympic Sculpture Park This Summer

After many overcast months, I want nothing more than to spend as much time as possible outdoors and to enjoy the fleeting Seattle sun. Unfortunately, as a broke college student, I have little money to spend on summer activities. My solution? The Olympic Sculpture Park’s free summer programs. So, here are my top five favorite things to see and experience at this summer at the sculpture park.

1. YOU ARE HEAR
Music, and more broadly sound, plays a huge role in my focus and aesthetic appreciation of the world. YOU ARE HEAR, created by respected artist and sound engineer Trimpin, recognizes the complexity of sound. This exhibit is a hands on, interactive approach to the concept of sound and how we as listeners and viewers experience it.

2. Echo
This is a 46-foot-tall sculpture by Spanish artist Jaume Plensa and inspired by the Greek mountain nymph who was cursed by goddess Hera by restricting Echo’s speech to be only the words of another. I’m fascinated by Greek and Roman mythology, so this statue struck an academic chord in me.

3. Seven Cubes with Color Ink Washes Superimposed
This piece is absolutely beautiful. On display in the PACCAR Pavilion, this contribution by Sol LeWitt brightens up the sculpture park, and is a joy to see from now until March 8, 2015. I haven’t seen it in person yet, so I’m looking forward to seeing it in reality.

4. Food, art, and music
When local music, delicious food, and interesting art are in one place, I’m there. Every Thursday, starting July 10, SAM entices the community with art activities, live music performances, food trucks, and art tours. Because the event runs from 6-9 pm, attendees will get a beautiful view of the waterfront during sunset.

5. Yoga and Zumba
If you’re excited about yoga and Zumba, or have never done either before, I highly encourage you to stop by every Saturday (beginning July 12) for free yoga lessons at 10:30 am, and then for Zumba at 2 pm. This is a great opportunity to get the weekend started on a relaxing note.

I’m so excited for everything the Olympic Sculpture Park has to offer this summer. There’s something for everyone almost every day of the season. Check out a full schedule of what’s happening at visitsam.org/summer.

I hope to see you there!

Erin Dwyer, Seattle Art Museum communication’s intern

Echo

Meet Echo

Echo, Seattle Art Museum’s massive new addition to the Olympic Sculpture Park, is starting to take shape.

A spectacular and iconic addition to the park, the 46-foot-tall sculpture by Spanish artist Jaume Plensa, will greet visitors as they wander the shoreline.

Echo has been given to the Seattle Art Museum from the collection of Barney A. Ebsworth. It was originally commissioned by the Madison Park Association in New York and installed at Madison Square Park in 2011 to great acclaim. It is made from resin, steel, and marble dust, and altogether weighs 13,118 pounds.

Echo was modeled on the nine-year-old daughter of the owner of restaurant near the artist’s studio in Barcelona. With computer modeling, Plensa elongated and abstracted the girl’s features. The sculpture’s title references the mountain nymph of Greek mythology of the same name.

As told in Ovid’s Metamorphoses, Echo offended the goddess Hera by keeping her engaged in conversation, and preventing her from spying on one of Zeus’s amours. To punish Echo, Hera deprived the nymph of speech, except for the ability to repeat the last words of another.

Plensa offers us Echo with her eyes closed, seemingly listening or in a state of meditation. Envisioning Echo looking out over Puget Sound in the direction of Mount Olympus (a further reference to Greek mythology that is already embedded in the landscape), Plensa also intends for the sculpture to serve as a gathering point for introspection and contemplation. In our increasingly networked culture where information is endlessly copied and repeated, it is a work that invites viewers to pause.

Drop by the park and check out the progress when you have a moment. It’s easy to spot Echo. Join her near the water and spend a few quiet moments next to her thoughtful presence at the Olympic Sculpture Park.

SAM vs DAM

It’s On! Seattle Art Museum (SAM) and Denver Art Museum (DAM) are betting big on Super Bowl XLVIII

The Super Bowl is a mere six days away (February 2, 3:30 pm PST on FOX). Not only is the 12th man gearing up, but so is the Seattle Art Museum. SAM and the Denver Art Museum (DAM) (everyone likes a rhyming competition, right?) have upped the ante on the outcome of Super Bowl XLVIII by betting temporary loans of major works of art on Sunday’s big game.

The Stakes:
A majestic Native American mask, reminiscent of a mighty “Seahawk” from SAM’s renowned Northwest Coast Native American art collection, is wagered by Kimerly Rorschach, SAM’s Illsley Ball Nordstrom Director and CEO.

The Broncho Buster, a bronze icon of the West by Frederic Remington from the renowned western American art collection at the DAM, is wagered by Christoph Heinrich, Frederick and Jan Mayer Director.

The winning city will receive a three-month loan of the prized artwork. All shipping and expenses will be paid by the city that loses the big game. Dates of the loan are still being finalized.

Here at SAM we are looking forward to showcasing the Broncho Buster. Our visitors will be in for a special treat when they gaze upon the beautiful bronze horse symbolizing the spirit and tenacity of the Wild West. Popular from the time of its creation, The Broncho Buster stands today as an icon of the region and is thought of as the first action bronze of a western hero.

Just for the record, SAM’s “Seahawk” is a Forehead Mask from the Nuxalk First Nation ca. 1880. This Nuxalk mask shows the elegant elongation of the bird beak, a sensitive and human-like rendering of the eye/socket/brow area, with painted embellishments on the surface in black, red and blue. The open mouth suggests the ferocity of this bird of prey, possibly a supernatural “man-eater”. Shredded red cedar bark symbolizes the mythical arena in which the dance-dramas would be enacted.

…It’s too bad that visitors to DAM won’t be able to experience it there, but they can always come visit SAM.

GO HAWKS!

Image credits: Forehead Mask, Nuxalk, ca. 1880, Alder, red cedar bark, copper, pins, paint, 4 1/8 x 11 3/8 x 5 1/8 inches, Gift of John H. Hauberg 91.1.71. Frederic Remington, The Broncho Buster, Modeled 1895, cast by 1902, Bronze; 23-1/4 in., Denver Art Museum; The Roath Collection.
Rupert enters "The Western Oracle"

A Dog’s Blog: Rupert visits the Olympic Sculpture Park

Meet Rupert: He loves the park and has agreed to guest blog for us. Here’s what he has to say:

 

Dear humans, or, as I like to call you, hairless dogs with thumbs,

Hello! Nice to meet you. My name is Rupert Putdownthatshoe. I’m five and I recently moved into a new home in downtown Seattle, where I live with my roommate, Kristen. She pays the rent, and I let her scratch my stomach.

Every afternoon, when my human comes home from work, I take her for walks around the city. I like to think of these walks as daily mini-vacations from my otherwise full-time occupation of protecting our home from intruders like helicopters and the mailman. My favorite mini-vacay destination these days is the Olympic Sculpture Park.We went there yesterday, and I had so much fun giving my roommate a tour of all my favorite smells.

Yesterday’s tour’s highlight was the Park’s newest smell box – it’s called The Western Oracle: We Will Tear the Roof off the Mother by Heather Hart. Inside the smell box, we looked out a window at the Puget Sound, which made me think of the fish I like to eat. There’s also a chimney looking up to the sky, which made me think of the ducks I like to chase. I like this smell box.

 

Until next time!

Woof, Rupert.

 

-Carter Stratton, intern for Communications

Rupert enters “The Western Oracle”

It’s Elles REMIX Style

Before moving to Seattle to start my fall internship at the Seattle Art Museum this past August, I had already developed an appetite for Remix. I’d never been to one on my many visits to the Northwest but I had seen the posters—shiny, glossy and wickedly designed, I wanted, needed to know more about SAM’s quarterly event.

Aimed at engaging and building relations with young adults, SAM’s Remix events align ever so nicely with the museum’s special exhibitions to create a dance-party-meets-fine-arts experience that gets under your skin in the best way. This fall’s French import Elles: Women Artists from the Centre Pompidou, Paris weaves its way seamlessly throughout this month’s Remix at SAM Downtown on November 9 from 7:30 pm–12:30 am; showing that ladies can hang with the boys and party just as hard.

DJ Michele Myers kicks off the night in the Brotman Forum with intoxicating rhythms and beats from pop, local favorites, soul and just about anything else you can dream of to keep you dancing your pants off. Watch as choreographers Linda Austin, Anne Furfey and Amy O perform excerpts from Ten Tiny Dances on a 4×4 foot dance floor throughout the night. Enjoy the musical styling’s of Hollis and The Pytons as they perform sets from ACT Theatre’s These Streets—an homage to the grunge movement in Seattle with a feminine twist. Curated by Gretta Harley and Sarah Rudinoff, these sets are sure to get the blood pumping and bring out your long dormant grunge kid.

Head on over to the Arnold Board Room to rest those tired dogs while testing your mettle and your knowledge of pop culture, sports, film and more at the Women All-Stars Trivia with Geeks Who Drink. Or earn your Artistic License with Erin Shafkind at her Department of Artistic Licensing with the help of Jenny Zwick and Tessa Hulls. It’s like the DMV only fun.

Let your activist self run free in the South Hall and create Take Action Buttons with Janet Fagan. Too much activism and not enough space?  Create a Power Band with Romson Bustillo to showcase your inner superhero! Put your thinking cap on at the Second Floor Think Tank and ask yourself Can Women Really Have It All? Join Vivian Phillips and Priya Frank as they explore questions raised by Elles: Pompidou through interactive activities. Give your brain a break and mosey on up to the Fourth Floor Galleries and listen to Seattle Symphony Orchestra harpist Valerie Muzzolini Gordon while she performs music inspired by Elles: Pompidou’s French roots.

But wait there’s more! (Isn’t there always?) It wouldn’t be Remix at the museum without the My Favorite Things: Highly Opinionated Tours. Happening periodically throughout the entire night, the tours are led by short folks, tall folks, artistic folks, academic folks and just about everyone else in between to offer up their opinions, whether good or bad, about the art and artists featured in the Elles: Pompidou exhibit.

Hillaire carving the pole for Kobe, Japan, in Seattle’s Pioneer Square, 1961. Photograph by Harvey Davis. Post-Intelligencer Collection, Museum of History and Industry.

Joseph Hillaire: Carver of the Kobe-Seattle Sister City Friendship Pole

Hillaire carving the pole for Kobe, Japan, in Seattle’s Pioneer Square, 1961. Photograph by Harvey Davis. Post-Intelligencer Collection, Museum of History and Industry.

Joe Hillaire Kwul-kwul-tu, (meaning “spirit of the war club”) was a man of indomitable spirit, grace, intelligence, and talent. For his Lummi people, he perpetuated song and dance traditions through the Setting Sun Dance group, was instrumental in reviving the Lummi Stommish water festival (and Chief Seattle Days at Suquamish), taught totem carving and canoe-making, and was a voice for social and political causes. Of parallel importance were his actions as a liaison between Native and non-Native people. He imparted knowledge of Lummi heritage to anthropologists Bernhard J. Stern and Erna Gunther (curator of the Northwest Coast Native exhibit at the 1962 Seattle World’s Fair) and ethnomusicologist Willard Rhodes, as well as to the Boy Scouts of America and various school groups in the Seattle region. Hillaire also provided guidance to business and civic leaders, and traveled throughout the U.S. and to Japan with the objective of fostering inter-cultural friendships and bringing attention to Native culture.

Totem pole carved by Joe Hillaire, Kobe, Japan, 1961. Photograph by Lawrence Denny Lindsley, 1967. University of Washington Libraries, Special Collections Division.

The 35-foot-tall pole depicted in the image to the right was carved by Hillaire in 1961 as a part of a two-pole project to call attention to the upcoming 1962 World’s Fair in Seattle. Kobe is Seattle’s sister city and the story pole was a goodwill gift meant to point out commonalties between the two cities, ease the memories of WWII, and promote trade between the U.S. and Japan. Hillaire’s approach is richly symbolic: two sisters grow closer as they acknowledge the things they share, like the salmon, mountains and sea, and the rising sun (Japan) and setting sun (Seattle). The monster blowing a dark cloud symbolizes the darkness of war, while the sun alludes to the hope of peace.

Images from Joseph Hillaire’s Trip to Kobe, Japan (1961)

 

 

 

Joseph Hillaire and the Saga of the 1962 Seattle World’s Fair Totems

Lummi artist Joseph Hillaire was commissioned to carve two story poles in connection with the 1962 Seattle World’s Fair. In celebration of its 50th anniversary, we are remembering Hillaire’s contributions to the Century 21 Exposition in a series of weekly posts. Please check back each week or subscribe to our RSS to learn more about Joseph Hillaire and the Saga of the 1962 Seattle World’s Fair Totems. 

Top Photo: Hillaire carving the pole for Kobe, Japan, in Seattle’s Pioneer Square, 1961. Photograph by Harvey Davis. Post-Intelligencer Collection, Museum of History and Industry.
Styrofoam Model of a Yam Mask

Mounting and Yam Masks at the Oceanic Gallery

On April 30, I begin exploring the inspiring installation on view at the Oceanic gallery.  This gallery not only contains the unusual art of the Oceanic islands but also an unusual approach to viewing the work.  The inclusion of commission installation pieces created by local Seattle artist Allyce Wood provides, as curator Pam McClusky explains, clues to the objects origins beyond the accompanying textual plaques.  These objects, which were removed from their originally context to a museum context, are reunited with the visual elements of their initial environment.  Part One, The Unique Installations in the Oceanic Gallery, examined the ways in which the installation connects the works to their native environment and functional cultural contexts.  Part two continues the discussion with a behind-the-scenes perspective on the gallery exploring the mounting of these objects.

 

You may not initially realize that the Yam Masks are displayed on replica yams.  Despite the huge size of those in the case compared what you’d expect from a grocery store, these yams are actually much smaller than the champion yams of Papua New Guinea’s Abelam people.  Their yams reach heights of nine or even twelve feet!  If you don’t believe me, the case text, or have trouble imaging a yam so large an accompanying photograph provides a visual of the yams: taller than their proud owner and nearly as tall as his house!  The yams’ size demonstrates the conflict between the museum environment, the objects’ natural environment, and providing proper context.  A museum environment dictates that objects should be approachable and so are displayed at an appropriate height.  The natural environment for these masks would be mounted on tall yams, a biodegradable natural product where the mask is above our heads.  This poses problems in a museum since the natural material would degrade and having the masks at a similar height would inhibit viewing.  Their current context in the Oceanic gallery compromises these two methods by shrinking the size of the yams so they can display the mask within a similar context but at an approachable level, much like a manikin.  Perhaps we should refer to these yams as, yam-ikins for the masks.

These yam-ikins, while mimicking the shape, color, and at least width of the yams, might look like a simple installation created by Allyce, but they double as an intricate and supportive mount for the masks.  For one mask with a simple curved back the creation of the yam-ikin was fairly straightforward.  The mount for the other mask is far more complicated.  The process highlights the skill of the mount makers who need to capture the feel of the object in its environment without compromising its vitality.  They must both present the object to the viewer, while restricting its motion and preserving the object for future generations.

The Yam Mask’s “Pillow” Mount

The mask in question for this mount is beautifully woven.  Its reds and yellows contrast against a rich dark black and a few of its original arching feathers remain.  In order to accommodate the mask’s dome-shaped interior, mount maker Gordon Lambert created a “pillow” with flaps.  The pillows fill the form of the mask, supporting the fibers without straining or stretching them.  They are flexible and are attached to a frame with a hinge, so they can move and respond to the mask as needed.  This support rests on aluminum tubes that provide vertical stability.  Parts of the pillows that might be seen were painted black and to disguise an awkward connection between the base of the mask and the yam, Allyce created a grass necklace in the proper style.   Allyce also created the yams, which wrap around the plain base to provide the masks their appropriate context on a yam.

Gordon noted how fun the yam-ikins were to create make due to its inventiveness and the challenges it created.  Rebecca Raven, another mount maker, commented on the overall inventive nature of the mounts.  For instance, the Asmat War Shields maintain their old steel L-mounts and were originally displayed facing forward in a line.  Now the shields twist and turn.  In order to turn the mounts for the new display, the mount makers required a specialized wrench to reach a bolt within a shallow space.  As no wrench of this kind exists, they built a special one-of-kind wrench just for this project and the mounts for these war shields.

Other elements of mounting and installation deal with issues of conservation.  While the Marquesan bone ornament, on displayed with the tattooed man and War club, would originally be hung around the man’s neck or head, conservation differences between the ornament and the club required their separation.  Therefore the reproduced tattooed Marquesan could not both hold the club and be adorned with the ornament.  The current separation between the man and the ornament allows the ornament to interact with the figure while not becoming lost in a crowd of objects.

Each part of the mount is ready for final assembly!

Issues such as these demonstrate the complex problem solving for Rebecca and Gordon in regards to mounting the work.  The added collaboration with the Allyce and her installations along with their collaboration with gallery designers and curators provided a new dimension to the mounts they often create.  New problems had to be solved for these unique Oceanic objects so they could both be protected and appreciated.  Their work with the Oceanic gallery prepped the team for the mounts they needed to create for the current exhibition Gauguin & Polynesia whose Polynesian materials are quite similar to those in SAM’s Oceanic gallery.  However, as Pam notes, the permanent Oceanic gallery provides longevity for the museum and the Oceanic collection as opposed to the fleeting views the special exhibition offers.

 

From the unique installation elements that provides visual context to the arts so far removed from their original, non-museum context to the mounting of these pieces we learned so much about the process of creating such a unique and beautiful display for SAM’s Oceanic collection.  The considerations, effort, and preparation that all occurred behind-the-scenes for this seamless viewing, is incredible.  Each element of the gallery—the installations, the Oceanic art, the mounts, the information panels—come together creating an inviting environment that transports the viewer away from Seattle and onto the islands of the Pacific Ocean.

 

Be sure to check out the final product!  The Oceanic Gallery is located on SAM’s third floor.

 

- Sarah Lippai, Public Relations Intern

Top photo: Styrofoam Model of a Yam Mask
Silk Road Dance Company

Make Your Own Wonderful Wardrobe at the Seattle Asian Art Museum on Free First Saturday

On Saturday, May 5, bring your family to the Seattle Asian Art Museum for Free First Saturday! Explore the exhibition Colors of the Oasis: Central Asian Ikats, and design your own wearable art inspired by gorgeous garments from central Asia.
This fun-filled day will feature special performances by Silk Road Dance Company, which has delighted audiences around the country with traditional and fusion dances from the Middle East and Central Asia. Performing Uzbek, Afghani, Tadjik, Azerbaijani, Kurdish, Persian, and Egyptian dance techniques rarely seen in the United States, Silk Road Dance Company offers a unique glimpse of the life, culture, and art of little known regions.

Please note that a large public event in Volunteer Park will be taking place all day May 5. We recommend that you allow extra time for parking and walking to the Seattle Asian Art Museum. You also may want to consider biking or taking a bus instead of driving.

Free First Saturday at the Seattle Asian Art Museum is presented by Russell Investments with support provided by The Peg & Rick Young Foundation.

-Madeline Moy, Digital Media Manager

Wild Plum, Iskra Johnson, transfer print on paper, 33x25 in.

Iskra Johnson Shows New Work “Contemplating Nature” at SAM Gallery

Iskra Johnson, like most of us, navigates the territory between the natural and the modern world. She has a successful business providing custom letterform solutions and logotypes for packaging materials for companies looking to personalize their branding aesthetic. That Gardenburger logo? She created it. The Seattle Times brandmark? It’s in her portfolio. She utilizes many channels of modern technology (as one must be to survive in the current communications arena) working with design software, digital cameras and a smart phone as well as her website, blog and Facebook pages, all duly updated to maintain relevance with today’s desire for immediacy and attainability.

While maintaining her life as a savvy business owner, Johnson works with equal diligence in her fine art career.  And perhaps by proximity to (her studio is in the middle of a garden) the seasonal changing of flora and fauna, she is greatly inspired by her natural surroundings.

Images of flowers, leaves, water and wildlife are featured in her work and layered with atmospheric shadows and textures. Each composition is carefully crafted, integrating digital photographic elements with older analog prints, powdered pigment and paint. Employing a unique transfer process, each print is handmade and sensitive to timing, humidity and pressure.  It takes a great deal of repetition and attention to detail to produce one successful print. To some this could be considered time consuming and exhaustive, but to Johnson it is a process that allows for pause, contemplation and absorption.

“For me contemplation of nature is a blessed, necessary antidote to the political life. It’s reflective and absorbing. There is no ‘issue,’ nothing to prove, and nothing to be right about. But it’s not a passive state. Embedded in contemplation is the search for transformative metaphor. One of my favorite plants in the garden is the hydrangea…as it changes through the seasons; it is beautiful at every stage. It makes me regard the cycles of my own life from a bigger impersonal perspective and it helps me find harmony with the processes of change. There are times when I think the state of peace that comes from nature is denial, but more often I think it is the basis of everything good-it’s what holds up the world and makes it possible to live.”

Come see new work by Iskra Johnson as well as artists Tyler Boley, Nichole DeMent, Eva Isaksen, Christopher Perry, Aithan Shapira, Nina Tichava and Allyce Wood in the upcoming exhibition, Contemplating Nature, open May 10 – June 9.

Meet the artists May 10, 5 – 7 pm, for the opening reception at SAM Gallery, 1220 3rd Avenue (at University), downtown Seattle.

-Alyssa Rhodes, SAM Gallery Coordinator

Wild Plum, Iskra Johnson, transfer print on paper, 33×25 in.