Muse/News: In-Between, Music Hook, and New Supper

SAM News

Anida Yoeu Ali: Hybrid Skin, Mythical Presence is wowing visitors to the Seattle Asian Art Museum. Crosscut’s Brangien Davis features the exhibition in her ArtSEA post. And don’t miss Annie Atherton’s interview with Ali for Seattle Magazine, in which they discuss nuances of identity and the role of humor of absurdity in her work. 

“We’re told that fragmentation is having to split our Asian-ness or our American-ness, our bicultural identities—that we have to become more whole. What I’m teasing out is what I call the diasporic dilemma. What I’ve figured out for myself, is that the in-between space, working in fragmentation is how I’m whole.”

The Seattle Times’ Margo Vansynghel reports on new NAGPRA regulations that require institutions to conduct more consultations with Native tribes before exhibiting or researching Native cultural objects. At SAM, five objects in the Native American galleries have been taken off view and information has been posted in the galleries to encourage dialogue on this important process.

“For now, SAM says it is committed to working with tribes in reviewing its collection. This process is to ensure the institution is in compliance with the new law, a spokesperson said, as well as the museum’s own policies around ethical collecting and display and its goal of strengthening its relationships with Indigenous communities and other ‘communities of origin.’”

Local News

Crosscut’s Brangien Davis also gathered up recommendations for Black History Month.

“How Did January Become Summer Camp Season?” asks Seattle Met’s Allecia Vermillion. Hot tip! SAM Camp registration opens on February 16 at 5 pm. 

Rachel Gallaher for Seattle Magazine on how Totem Star, a non-profit music organization for youth, is filling up its new location in STATION SPACE at King Street Station.

“‘Music is the hook,’ [Totem co-founder Daniel] Pak says. ‘It’s what you see. It’s what we do. But Totem Star is also a place for our artists to find who they are. We’re creating a safe space for people to be loved, build community, and find each other. We want to help these young people grow into the best versions of themselves.’”

Inter/National News

Via Maximilíano Durón for ARTnews: “Ruth Asawa’s Life as an Aspiring Artist Gets the Graphic Novel Treatment.”

Walker Mimms for Hyperallergic on a “fluent and accessible new book” that explores the pivotal court case when artist James Whistler sued critic John Ruskin

BRB, buying a ticket to London. Jo Lawson-Tancred for Artnet on “How Tavares Strachan Reimagined Leonardo’s Last Supper.”

“Inspired by one of art history’s best known paintings, Leonardo da Vinci’s The Last Supper (ca. 1495–98), the mammoth bronze sculpture imagines a convivial gathering between notable historical figures from Africa and its Diaspora who, in reality, never met because they were separated by time and place.”

And Finally

“Chihuahua named WA’s top dog breed.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.

Graphic Content: Woodcut

This is it, people. Less than a week left to get your fill of Graphic Masters: Dürer, Rembrandt, Hogarth, Goya, Picasso, R. Crumb before it closes August 28. In this, the last week of our groundbreaking summer exhibition, we deliver our final crash course in printmaking with a quick introduction to woodcut.

Get up close and personal with the rich history of woodcut prints by viewing Albrecht Dürer through the magnifying glasses provided in the Graphic Masters galleries. With more than 400 artworks by six artists, you’ll want to give yourself plenty of time to soak up the details during your visit to SAM.

Woodcut

What is a woodcut?

Dating back to the 14th century, woodcut was the first process developed in Europe for printing on paper. Woodcuts are a relief process —the artist makes a drawing on the block and chisels everything else away, leaving the raised lines on the surface intact. Before printing, a uniform layer of ink is rolled onto the wood block surface using a brayer.

Woodcuts are characterized by crisp outlines and a sharp contrast between the black ink and white paper. Dürer used hatching, a series of parallel lines that vary in thickness and frequency, to create a mid-toned background for Christ’s divine halo.

Images: The Last Supper, from The Large Passion, 1510, Albrecht Dürer, German, 1471–1528, woodcut, 17 5/16 × 12 1/16 in., Lent by The Metropolitan Museum of Art, The George Khuner Collection, Gift of Mrs. George Khuner, 1975 (1975.653.12). Illustrations: Time Marsden.
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