Seattle Art Museum, Author at SAM Stories

10 Tips for Your Trip to “Gauguin & Polynesia”

Seattle Art Museum on Jan 31 2012

1. ADJUST TO ISLAND TIME
Starting February 9, SAM Downtown has extended open hours to make it easy to see Gauguin & Polynesia: An Elusive Paradise.

Tuesday–Sunday 10 am–5 pm
Thursday & Friday 10 am–9 pm
First Thursdays (March 1 & April 5) 10 am-midnight

Closed Mondays
(except Presidents Day & select Members-Only Mondays)

After the exhibition closes on April 29, the museum will resume Wednesday–Sunday open hours.

Want to avoid crowds?
It’s likely the museum will be busiest during First Thursdays (when ticket prices are reduced) and on Saturdays and Sundays. For a quieter experience, we encourage you to visit during the week after 2 pm (school groups tend to visit between 10 am and 2 pm), or on Thursday or Friday evenings.

2. BEAT THE LINES, BUY ONLINE
Online ticketing, how do I love thee? Let me count the ways.

Guaranteed admission for your reserved day and time.
No waiting in line. Just print your online ticket at home or show us on your phone as you enter and you can go immediately to the special exhibition galleries.
No online ticketing fee.

Okay, so that’s only three, but you have to admit, they’re pretty good!

Sold out online? Don’t worry!
If your preferred time is already sold out online, you may still be admitted by showing up in person. A limited number of day-of tickets will be available— first-come, first-served—at the Ticketing Desk.

Visit seattleartmuseum.org/gauguin to check ticket availability. SAM’s Facebook page and Twitter feed will also have updates about tickets, lines and other exhibition news.

3. SAVE SAVE SAVE
Regular-priced Gauguin & Polynesia tickets include entrance to the SAM Collection Galleries Downtown and FREE admission to the Seattle Asian Art Museum within one week. There are no extra fees for online orders.

SAM Members, Children (12 & under) FREE!
Adults            $23
Seniors (62+), Military (with ID)           $20
Students (with ID), Teens (13–17)        $18

Visit First Thursdays and Fridays & Save
Admission price discounts on First Thursdays and First Fridays will be available during Gauguin & Polynesia. Visit seattleartmuseum.org/gauguin for details.

Avoid the Crowds & Save
On Thursday and Friday nights, 5–9 pm, ticket prices are reduced by $3 for everyone and lines are likely to be shorter.

Bring your Friends & Save
Receive discounted ticket prices and group benefits when you purchase 10 or more tickets in advance. For more information call 206.344.5260 or email groups@seattleartmuseum.org.

Park at 3rd and Stewart Garage & Save
Discount parking is available at the Third and Stewart Parking Garage—entrance is located on Stewart between 2nd and 3rd Avenues. Ask for a voucher at the SAM Ticketing Desk and park for up to four hours for only $6.

4. GO! GAUGUIN & SAVE MORE
When you buy your tickets online, you’ll get a link in your confirmation email leading to an online coupon good for great discounts from participating retailers, restaurants, and art and cultural institutions. It’s a city-wide celebration of Gauguin & Polynesia which means fun offers and super savings for you.

5. ARRIVE EARLY AND STAY AS LONG AS YOU LIKE
Gauguin & Polynesia is in the Simonyi Special Exhibition Galleries on the Fourth Floor. Please arrive 10–15 minutes before the time listed on your ticket. You must enter the galleries no more than 20 minutes after your specified time, or your reservation will be released. There is no re-entry into Gauguin & Polynesia, but once admitted you may stay as long as you wish.

Don’t forget!
You are welcome to explore the 35 international SAM Collection Galleries before or after your visit to see Gauguin & Polynesia. And, remember to bring your special exhibition ticket within one week to the Seattle Asian Art Museum and enjoy FREE admission to our recognized Asian art collection.

6. DOWNLOAD FOR FREE
The Seattle Art Museum and Acoustiguide have developed an insightful audio guide with commentary about selected works in the exhibition. Download the podcast or iPhone/Android application to your digital device at seattleartmuseum.org/gauguin prior to your visit to the museum.

Don’t have your own digital device?
FREE audio wands are available on a first-come, first-served basis. Audio guides for no and low vision visitors are also available.

7. SHOP ‘TIL YOU DROP
Want to pick up a bit of the Pacific Islands? Or maybe find that special gift? Expect the unexpected at SAM SHOP, where playful, modern and worldly wares are the norm.

8. FEED & WATER REGULARLY
Don’t forget to fill up beforehand—food and beverages are not allowed in the galleries. May we suggest TASTE Restaurant? TASTE features artistic, locally-focused food, including menu items inspired by Pacific Island cuisine. Reserve your table to coincide with your gallery visit at opentable.com.

9. VISIT AGAIN FOR FREE
Become a member today and visit as many times as you like for free. Enjoy members-only benefits including exclusive access times for Gauguin & Polynesia, free admission at all SAM sites for a year and discounts at SAM SHOP and TASTE Restaurant.

Already purchased your ticket?
Stop by the Ticketing Desk to apply the price of your Gauguin & Polynesia ticket towards a membership!

10. SNEAK A PEEK
See a preview of the works and learn more about Gauguin’s life, his art and his search for the exotic at seattleartmuseum.org/gauguin

Photo credit: Madeline Moy

Final listening party at SAM’s Record Store

Seattle Art Museum on Jan 31 2012

The final listening party at SAM’s Record Store will be held January 31 from 6:30-9 pm. Donna Moodie from Marjorie restaurant, Alan Maskin from Olson Kundig Architects and a host of other incredible people will be spinning choice cuts from their favorite albums in the Record Store collection. Don’t miss it!

The Record Store is a temporary extension of the Theaster Gates show housed in a storefront in Pioneer Square. A collaboration between SAM and Olson Kundig Architects, the Record Store is open for the general public to browse the robust collection of records and play albums for the entire store or listen in a small group.

While nothing is for sale in the store, the exchange of ideas and concerns is encouraged. The goal is for the Record Store to function as a cultural commons where ideas, issues and moments in time are discussed, debated or responded to.

The Record Store will feature a series of “listening parties” with guest DJs, artists, community folks, dancers, musicians, urban planners, activists, etc. Each “selector” will borrow from the same collection of LP’s or brings a few of their own records that act as the sound track that illustrates their ideas. Irruptions might take various forms including: debates, writing or dance classes, silent reading, tastings, workshops, to-do-lists or a sermon.

RECORD STORE LOCATION
[storefront] Olson Kundig Architects
406 Occidental Ave. S
Seattle, WA 98104

HOURS
Tues| Wed | Thurs
12 – 4 pm and 6:30 – 9:00 pm

Photo credit: Madeline Moy

Food and Faith in Japan

Seattle Art Museum on Jan 25 2012

A fascinating series of lectures will be offered at the Seattle Asian Art Museum on two topics that have increasingly entered the purview of art historians across the world: food and ritual in relation to art.

Japanese culture, both ancient and modern, is rich in elements of ritual display. Foods, drink, implements for ceremonial performance, and a wide range of display objects such as lacquer and ceramics are found on temple and shrine altars. Paintings extoll the sins and virtues of various foods—often in encoded visual subtexts. Mochi, which many of us know as a frozen ice cream treat, traces its origins to secular rituals for harvest or the New Year and religious rites in ancient Japan. Paintings in the Seattle Art Museum collections transport us back in time to the days when wrongly accused courtiers and statesmen took vengeance on the perpetrators of injustice and were pacified only by regular ceremonies at court or posthumous enshrinement at Shinto jinja.

Professor Cynthea J. Bogel (East Asian visual culture and art history, University of Washington) has organized colleagues, community, and students to form a creative collaboration that explores ritual, foods, objects of display, and medieval Japanese painting side by side. Working with the Simpson Center for the Humanities, the Seattle Art Museum, Seattle artist and cultural anthropologist Julia Harrison, and input from Seattle’s Asian-American artist and confectionary-making community, four lectures will be offered at the Seattle Asian Art Museum free of charge.

Read More

SAM Art: Brendan Tang’s “Manga Ormolu”

Seattle Art Museum on Jan 25 2012

The new incarnation of Here and Now, the museum’s new acquisition space, focuses on recently acquired contemporary ceramics. The works now on view reveal their desire of bridging the past and present. These hybridized vessels express their synthesizing of visual histories from Eastern and Western cultures.

Focusing on the intermingling of stylistic traditions, Brendan Tang’s Manga Ormolu blends cultural references. Here, a dynamic robotic form seems to discard the skin of its prior form as a Chinese Ming dynasty vessel. The artist has said, “this narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country—within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.”

Manga Ormolu version 5.0-h, 2010, Brendan Lee Satish Tang, Canadian, born in Ireland, 1975, ceramics, mixed media, 16 1/4 x 11 x 7 1/2 in., Margaret E. Fuller Purchase Fund, 2011.27, © Brendan Lee Satish Tang. Now on view in Here and Now, new acquisition gallery, third floor, SAM downtown.

Communications Team Preps for Gauguin & Polynesia Opening!

Seattle Art Museum on Jan 24 2012

Everybody at SAM is in a flurry to get the Gauguin & Polynesia exhibition ready to open to the public on February 9. Of course you know that we must hang paintings on walls, but what else is there to do? The answer is, lots! The Communications department is responsible for all printed materials at the museum (from the quarterly members newsletter SAMconnects, to invitations sent to 50,000 households, to the Map & Guide that get when you arrive), advertising and museum signage, so there’s no lack of things to do! Below you’ll see a big sign going up on the outside of the building, the tools we use for selecting the perfect color for our billboards, and one of our designers working away at her desk. What other behind-the-scenes images do you want to see?

-Calandra Childers, Communications Manager

Photo credits: Carlos Garcia

This is a gigantic PMS color chart, printed onto billboard material. Because colors can print differently on different material, our billboard rep provided us with this huge print out. We used it to make sure the two main colors of the campaign would match across all mediums.

Here you can see one of our graphic designers, Michele Bury, busily working on a new design. She’s creating the wall signage for the special Gauguin & Polynesia shop that will be located outside of the exhibition.

Top photo: Here you can see the special lift that is required to install this huge sign on the outside of the building at 1st Ave and Union St. The sign is 45′ x 36′ when it is complete! The image is of Gauguin’s Three Tahitians, a stunning work that’s become the signature piece for the exhibition promotion.

Record Store Listening Party Schedule for January 24-26

Seattle Art Museum on Jan 23 2012

TUESDAY, JANUARY 24

6:30 – 9 pm
Selector: Eric Frederickson, Western Bridge/Seattle Arts Commission
Eric Fredericksen is the director of Western Bridge, Seattle and Chair of the Public Arts Committee for the Seattle Arts Commission. He has curated exhibitions at the Or Gallery, the Bodgers’ and Kludgers’ Co-operative Art Parlour, and the Contemporary Art Gallery, Vancouver. His exhibition Poste Restante has traveled to Artspeak, Vancouver; Limoncello, London; and the Henry Art Gallery, Seattle. His lecture and karaoke evening, “Karaoke and Authenticity,” has been presented at the TBA Festival, Portland; On the Boards, Seattle; and Instant Coffee Light Bar in Vancouver and Victoria, BC.

WEDNESDAY, JANUARY 25

6:30 – 9 pm
Selector: Hollis Wong-Wear + Youth Speaks
Join Hollis Wong-Wear and the incredible voices of Youth Speaks as they get you writing, performing and chanting with them. When you mix young powerful voices, thousands of vinyl LPs and a few seasoned poets/community folks, the end result is a must see. So…come out.

“Hollis Wong-Wear is rebellious, whip-smart and outspoken is a rising star in the Northwest spoken-word poetry scene. She graduated from Seattle University with a degree in History and a minor in Global African Studies. When she’s not performing her work at poetry slams and open mics all over town, she can be found working as a mentor at the literary arts organization Youth Speaks Seattle.”

THURSDAY, JANUARY 26

6:30 – 9 PM
Selectors: Dean Sven Carlson and Brenda “DJ B” Walker of The Recording Academy
Dean Sven Carlson and Brenda “DJ B” Walker share a love of modern global music. Dean is known for his internationally syndicated radio program, Fusion Radio and for his work with the Decibel Festival. DJ B spins a weekly a mix of downtempo, hip hop, world jazz and Latin electronica for WOMR-Provincetown. As Recording Academy governors, they proudly dedicated their night to MusiCares, which provides a safety net of critical assistance for music people in times of need. MusiCares’ services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community.

RECORD STORE LOCATION
[storefront] Olson Kundig Architects
406 Occidental Ave. S
Seattle, WA 98104

HOURS
Tues| Wed | Thurs
12 – 4 pm and 6:30 – 9:00 pm

Celebrate the Olympic Sculpture Park’s 5th Birthday with Cupcakes, Caramels and Some Seriously Cool Hats

Seattle Art Museum on Jan 20 2012

It’s hard to believe, but the Olympic Sculpture Park is already 5 years old! By the numbers, that’s:

5 seasons that salmon have been able to rest in a protected area just off our beach after hatching
60 months of growth to the native plants, 1,800 sunsets over the Olympic Mountains
About 2.5 million people walking (and running!) through the park.

And that doesn’t even account for the art in the park – over 20 pieces of monumental sculpture sited on 9 acres, with new and temporary works installed regularly.

To celebrate this milestone, we’re inviting everyone to a FREE birthday party at the Olympic Sculpture Park’s PACCAR Pavilion on January 21 from 11 am – 3 pm!

We’ll be:

Handing out cupcakes and chocolate caramels (courtesy of TASTE Restaurant)
Giving away Olympic Sculpture Park T-shirts for kids (to the first 400)
Making birthday hats (with Mark di Suvero’s Bunyon’s Chess as inspiration)
Giving special tours of the park

What do we want for our birthday, you ask? Most importantly – you! But if you must, we’re accepting $5 donations to SAM’s Annual Fund, which helps SAM put on great exhibitions and programs. Come join us for fun and festivities!

Here’s vintage coverage by the Seattle Channel of the Olympic Sculpture Park’s opening day festivities on January 20, 2007.

-Madeline Moy, Digital Media Manager

Photo credit: Sean Fraser

Top photo: From left to right: SAM staffers Madeleine Dahl, Emily Eddy and Carlos Garcia model the birthday hats guests will have the opportunity to make at the Olympic Sculpture Park’s 5th birthday party.

SAM Art: SNOW on Wednesday!

Seattle Art Museum on Jan 17 2012

Today’s SAMart was going to focus on Robert Morris’ Box with the Sound of Its Own Making, the topic of curator Catharina Manchanda’s lecture on Wednesday. However, given the forecast for a storm, SAM’s 3 sites will be closed Wednesday, January 18. This lecture will now take place on Wednesday, July 11.

Stay warm, stay safe, and enjoy the snow!

Trail in the Snow, 1959, Paul Horiuchi, American, 1906-1999, casein on paper, 34 7/8 x 22 15/16 in., Eugene Fuller Memorial Collection, 60.58, © Estate of Paul Horiuchi. On view until mid-February at the Seattle Asian Art Museum, Volunteer Park.

Record Store Listening Party Schedule for January 16−19

Seattle Art Museum on Jan 16 2012

TUES | January 17

6:30 PM – Cancelled due to weather concerns!

Selectors: Jason Plourde and the Three Dollar Bill Cinema Family

Join Jason Plourde, the Programming Director for Seattle’s own Three Dollar Bill Cinema, for an evening of that you will never forget. Three Dollar Bill Cinema provides access to films by, for, and about lesbian, gay, bisexual, and transgender (LGBT) people and their families, and a forum for LGBT filmmakers to share and discuss their work with audiences. We curate themed screenings throughout the year and produce programs in partnership with other arts, cultural, and service delivery organizations in the Greater Seattle area.

WED | January 18

Noon – Cancelled due to weather concerns!

Selector: Karen Toering, Cultural Worker

Karen Toering is back to man the store for the day! She is cultural worker who finds joy in the spaces where justice and art intersect. She is a grant-writing and development consultant for non-profit arts, cultural and social justice organizations. She is Director of GroundUP Organics, an urban farming and food justice program for youth and young adults. Her passion also includes film, where she Program Director of Seattle’s Langston Hughes African American Film Festival and founder of the Gary International Black Film Festival.

6:30 PM – Cancelled due to weather concerns!

Selector: Makoiyo Alley-Barnes and Makers of Note

THURS | January 19

Noon – Cancelled due to weather concerns!

Selectors: Seattle Art Museum Staff/Volunteers

6:30 PM – Cancelled due to weather concerns!

Selector: To Be Announced

RECORD STORE LOCATION
[storefront] Olson Kundig Architects
406 Occidental Ave. S
Seattle, WA 98104

HOURS
Tues| Wed | Thurs
12 – 4 pm and 6:30 – 9:00 pm

Meet Our Second PR and Social Media Intern

Seattle Art Museum on Jan 11 2012

As the second PR and Social Media Intern for the SAM this quarter, it would be best to introduce myself on first day of work. For me this internship is an opportunity to approach art and museums in a new manner from my previous experiences.

I was born and raised outside Chicago, a place which instilled in me a strong love cultural cities and a distaste for tedious flat landscape. For university, I moved to the Pacific Northwest, a region that beckoned me with mountains and a body of water more endless than Lake Michigan. After spending nearly two years abroad, I returned to Seattle and eventually to school at UW as a MA student in Art History.

SAM Art: Oceanic art, beyond the glass box

Seattle Art Museum on Jan 10 2012

Museums tend to collect what fits in a glass box, and lose sight of such intangible effects. In particular, Oceanic artists rely on and revere natural materials, many of which may decay or dissolve but are no less valued. In a new installation, Allyce Wood, a Seattle artist, was commissioned to reunite selections from the museum’s Oceanic collection with visual elements of artistic environments that were abandoned.

Terror is triggered by the sight of moving shields in Asmat fields. Bursting out of a dense forest, the shields signal oncoming combatants as they dodge and lunge forward, leaping swiftly and making zigzag movements to fend off opponents. In a region of lush verdant growth, the shields presented as “billboards” to announce that warfare was to begin.

War Shields (Jamasji), early 20th century, Irian Jaya, New Guinea, Asmat people, wood, lime, clay and fiber, Gift of Tom and Vicki Griffin, 2004.237, and Gift of Mark Groudine and Cynthia Putnam, 94.113 (right), installed with backdrop by Allyce Wood. Now on view in the NEW Oceanic Art Gallery, third floor, SAM downtown.

Artists explore themes of relocation and travel in “Journeys” at SAM Gallery

Seattle Art Museum on Jan 10 2012

How does travel affect and enhance our lives? How does it change us and our world view? These are questions for the ages—that no one can specifically answer but everyone, including artists, can ponder.

The influence of travel is central to SAM Gallery’s upcoming show Journeys.

Record Store Listening Party Schedule for January 10-13

Seattle Art Museum on Jan 9 2012

TUES | January 10

6:30 PM

Selector: Joshua Kohl, Degenerate Art Ensemble Co-Artistic Director/Co-Founder

Joshua Kohl has created original works for dance, silent film, concert ensembles, “classico-punk-big band” shows and street performances and has collaborated extensively on the creation of invented instruments used in DAE performances. Kohl has performed extensively throughout the U.S., as well as in the Netherlands, Italy, Slovenia, Slovakia, Czech Republic, Poland, Italy, and Germany, with the support of Arts International Fund for U.S. Artists and the Mid-Atlantic States Foundation’s U.S. Artists International. In addition to his work with Degenerate Art Ensemble, Kohl has created scores for the San Francisco-based dance theater company inkBoat; for a commissioned performance of c(h)ord (2008) at the Yerba Buena Center for the Arts, San Francisco; Tale of Two Cities (2007) and Night Flight (2007–2009) for Seattle’s Book-It Repertory Theatre; as well as Twelfth Night (2007) and The Beard of Avon (2007) for Portland Center Stage. In spring 2011 Kohl will perform with Haruko Nishimura at the Center for Performance Research in New York City, and he will be in a residency with DAE at Robert Wilson’s Watermill Center: A Laboratory for Performance, Long Island, New York.

WED | January 11

6:30 PM

Jonathan Cunningham and Rich Jensen, Hollow Earth Radio, Last Night’s Mixtape, Metro Times Music Blog

Cunningham is bound to make you think, talk and move just as he does in on Hollow Earth Radio – the weekly radio show that features music and conversation connected to Seattle’s musical hot bed known as the Central District. Broadcasts “could include anything from Jimi Hendrix to Ernestine Anderson to Ray Charles to Vitamin D to Shabazz Palaces to Wheedle’s Groove or a conversation about gentrification…they aim to unearth a local gem each week from yesteryear that more contemporary listeners need to know.”

THURS | January 12

6:30 PM

Selectors: Randy Engstrom, Founding Director of Youngstown Cultural Arts Center and Chair, Seattle Arts Commission and a Few Good Friends

Randy Engstrom is a dynamic arts leader with a vision for the new frontier. Originally from Chicago, he first arrived in the west in 1995 to attend Evergreen State College and moved on to Seattle post-graduation. During his time in the Pacific Northwest region he has helped found numerous creative ventures and organizations including serving as the Founding Director of the Youngstown Cultural Arts Center and Chair of the Seattle Arts Commission. Randy continues to develop innovative programs that help support and nurture vibrant communities through his consulting practice, Reflex Strategies.

RECORD STORE LOCATION
[storefront] Olson Kundig Architects
406 Occidental Ave. S
Seattle, WA 98104

HOURS
Tues| Wed | Thurs
12 – 4 pm and 6:30 – 9:00 pm

SAM Art: Farewell to LUMINOUS

Seattle Art Museum on Jan 6 2012

For her final entry, Hattie Branch, Blakemore Intern, looks at a seemingly fearsome figure.

Although this mask now appears to be a piece of static sculpture, when it was in use the effect was the reverse. The mask originally had a back half, and tied together covered the entire head of the wearer. With the wearer’s costume pulled up high on the neck, the head-concealing mask gave the impression that the sculptures within the temple had descended from their pedestals to stride forth amidst the devotees. Masked processions very literally brought religious belief to life in a thrilling way.

Masked dance was introduced to Japan during the Nara Period (710-794 CE) as part of a massive importation of Korean and Chinese political and religious culture. Initially only used in court rituals, by the Kamakura Period (1185-1333), when this mask was made, masked dance had taken on many different forms. The Dragon King was used in Buddhist gyodo performances, processions of masked figures embodying divine being.

Sagara the Dragon King stylistically blends two characters from different schools of masked performance. In Buddhist gyodo, the character Sagara is one of the Eight Great Dragon Kings, part of the retinue of Amida Buddha. In bugaku, a type of popular non-religious masked drama, the same features are shared by the character of a Dragon King, a prince so handsome that he wore a fearsome mask in battle to frighten his enemies, and so that his beauty would not distract his allies. Over time, the two characters came to share the distinctive green skin, ferociously contorted face, bulging eyes, and the dragon rearing back atop his head. Sagara’s role as a religious guardian, here, is emphasized by his golden lotus crown, a symbol of purity in Buddhism. Sagara’s formidable visage gave the faithful confidence in his ability as a protector.

Gyodo mask of Dragon King, early 13th century, Japanese, Kamakura period (1185-1333), wood with lacquer, polychrome and gilt, 15 9/16 x 8 1/8 x 5 15/16 in., Eugene Fuller Memorial Collection, 68.110. On view in LUMINOUS: The Art of Asia, through Sunday 8 January.

Meet Our New PR and Social Media Intern

Seattle Art Museum on Jan 5 2012

I’m always excited when I find myself at the beginning of a new chapter in my life. Today marks my first day as a Public Relations and Social Media intern at the Seattle Art Museum, and the start of a new professional adventure with opportunities and possibilities to discover.

SAM Art: Unfolding the Lotus Sutra

Seattle Art Museum on Jan 3 2012

Hattie Branch, Blakemore Intern, trains our eyes on the Lotus Sutra.

From a modern perspective, it is difficult to decipher what exactly is going on in this illustration. A group of figures appear oddly perched atop a spire, while below them tiny figures wander about, oblivious to the precariously balanced deities overhead. The image only begins to clarify when we begin to look as people would have done in 12^th-century Japan.

The Lotus Sutra, depicted here, describes the historic Buddha, Shakyamuni, teaching a gathered multitude how to achieve Buddha-hood. He sits enthroned, backed by a flaming leaf-shaped halo, gesturing that he is teaching the law. Rising behind him is a decorative rendering of the tree under which he taught his first sermon. Surrounding the Buddha are two monks with shaved heads, and four richly clad bodhisattvas—enlightened beings who help others achieve enlightenment.

In the foreground, three sections of text are illustrated. The group on the left are followers come either to request or give thanks for predictions of the likelihood of their attaining Buddha-hood. The group on the far right, busily digging, represents a parable in which the Buddha describes one searching for enlightenment like a man digging on high ground (so long as the soil is dry, water is far away; but when it is damp, he knows that he is near his goal). The structure in the center is the upper portion of the Jeweled Pagoda, which wells up from the ground wherever the Lotus Sutra is truly preached.

The confused (from a Western point of view) perspective would not have troubled 12^th-century viewers at all. The Buddha and his attendants who loom large are actually sitting amidst the hills of the middle ground. The figures are floating in order to make it easy for us to see them. The lower portion that appears to be below the Buddha is actually placed in front of him.

This image and accompanying text would have been deeply familiar to 12^th-century readers. Unfolding the layers of image and meaning within, this Lotus Sutra frontispiece allows us to follow their lead in understanding what we see.

Lotus Sutra: Frontispiece Depicting Chapter Twelve, late 12th century, Japanese, Heian period (794–1185), handscroll; gold and silver on indigo dyed paper, wood with metal fittings, 9 3/16 x 7 3/16 in., Eugene Fuller Memorial Collection, 48.171. Currently on view in LUMINOUS, special exhibition galleries, fourth floor, SAM downtown.

Resolve to See More Art in 2012!

Seattle Art Museum on Jan 3 2012

Finally a New Year’s resolution that will be fun to try and keep–come experience the art at SAM Downtown, the Seattle Asian Art Museum and the Olympic Sculpture Park! Here are our top five picks for what to see and do with SAM in January.

1. Walk through Do Ho Suh’s Gate.
Luminous: The Art of Asia closes January 8, which means there are only five more days to see Do Ho Suh’s magnificent multimedia installation and to take in this gorgeous exhibition representing 5,000 years of Asian art.

2. Take a spin in Theaster Gates: The Listening Room.
Visit the “church of wax” at SAM Downtown and touch, feel and play the records (yes-vinyl records!) in this installation at SAM Downtown. The Listening Room also extends beyond the walls of the museum to a storefront in Pioneer Square called the Record Store, where you can be part of a listening party.

3. See a unique perspective of 1930s Seattle.
Painting Seattle at the Seattle Asian Art Museum features two painters, Kamekichi Tokita and Kenjiro Nomura, known in 1930s Seattle for their American realist style of landscape painting. They shared the cultural legacy of Japan and the active cultural life of Seattle’s Japantown, while they found a public audience for their work in mainstream art institutions and participated alongside the city’s advanced artists, such as Mark Tobey, Ambrose Patterson and Walter Isaacs.

4. Get ready for Gauguin & Polynesia: An Elusive Paradise.
Seattle Art Museum presents the only United States stop for this landmark show highlighting the complex relationship between Paul Gauguin’s work and the art and culture of Polynesia. The exhibition, on view at SAM Downtown February 9 through April 29, includes about 50 of Gauguin’s brilliantly hued paintings, sculptures and works on paper, which are displayed alongside 60 major examples of Polynesian sculpture that fueled his search for the exotic. Organized by the Art Centre Basel, the show is comprised of works on loan from some of the world’s most prestigious museums and private collections. Buy your advance tickets now!

5. Celebrate the Olympic Sculpture Park’s 5^th Birthday Party.
Five years ago Seattle’s waterfront was transformed forever. Come to the Olympic Sculpture Park on January 21 to help us mark this very important milestone with food, art and other activities.

Combine some of your other New Year’s resolutions with art. Trying to exercise more? Take a walk through the Olympic Sculpture Park or ride your bike to the Seattle Asian Art Museum. Looking to save money? Take advantage of First Thursdays or SAM’s suggested admission, which allows you to pay what you can. Art can even help you decrease stress.

SAM is always happy to connect art to your life, and we look forward to seeing you more in 2012!

-Madeline Moy, Digital Media Manager

Record Store Listening Party Schedule for January 3-6

Seattle Art Museum on Jan 3 2012

TUES | January 3
6:30 PM

Selector: John Gilbreath, Earshot Jazz and Seattle Art Museum Art of Jazz
Calling all jazz heads to the Record Store for an evening of intense listening, great conversation about jazz and the vinyl record with Seattle’s own Jazz aficionado John Gilbreath. The host of KEXP’s Jazz Theater, Gilbreath has been a rabid jazz fan since childhood. He has been immersed in the local and national jazz and performing arts scene for the last 12 years as executive director of Earshot Jazz, Seattle’s no-profit jazz-support organization. He oversees Earshot’s monthly publication and educational programs, and has produced more than 1,000 far-reaching Read More concerts, including the Seattle’s annual Earshot Jazz Festival each fall. He actively works with various Northwest arts organizations and national jazz consortia and hosts the weekly Caravan show on KBCS, he curates Seattle Art Museum’s Art of Jazz longstanding series and, in his rare spare moments, is a student of stone sculpture.

WED | January 4
6:30 PM

Selectors: Jonathan Cunningham and Rich Jensen, Hollow Earth Radio, Last Night’s Mixtape, Metro Times Music Blog
Cunningham is bound to make you think, talk and move just as he does in on Hollow Earth Radio–the weekly radio show that features music and conversation connected to Seattle’s musical hot bed known as the Central District. Broadcasts “could include anything from Jimi Hendrix to Ernestine Anderson to Ray Charles to Vitamin D to Shabazz Palaces to Wheedle’s Groove or a conversation about gentrification…they aim to unearth a local gem each week from yesteryear that more contemporary listeners need to know.”

THURS | January 5
6:30 PM

Selectors: Davida Ingram (performance artist) and a creative group of friends
C. Davida Ingram (artist/writer) and a few creative friends (Christa Bell and Lara Davis along with Chicago based lyricist Marcus Ulysses Ingram) They’ll use the Record Store collection to explore sampling and loops as a form of social reminiscence and storytelling. Ingram is a cultural worker with a dynamic background. She is bringing a brilliant group of people to the Record Store to ignite participation in unforgettable creative activities that will bring warmth to the first week of the New Year. Other special guests to be announced.

The Record Store is a temporary extension of the Theaster Gates show housed in a storefront in Pioneer Square. A collaboration between SAM and Olson Kundig Architects, the Record Store is open for the general public to browse the robust collection of records and play albums for the entire store or listen in a small group.

RECORD STORE LOCATION
[storefront] Olson Kundig Architects
406 Occidental Ave. S
Seattle, WA 98104

HOURS
Tues| Wed | Thurs
12 – 4 pm and 6:30 – 9:00 pm

SAM Art: Happy new year!

Seattle Art Museum on Dec 30 2011

Happy new year!

“The Year’s End”, from The Twelve Months, first half 16th century, Hans Sebald Beham, German, 1500-1550, print, Manson F. Backus Memorial Collection, 35.291.5. Not currently on view.

Favorite 2011 Moments at the Seattle Art Museum, Seattle Asian Art Museum and Olympic Sculpture Park

Seattle Art Museum on Dec 30 2011

SAM Art: Five very beautiful women

Seattle Art Museum on Dec 27 2011

Hattie Branch, Blakemore Intern, brings us a look at the work of Katsushika Hokusai.

Long before Hokusai published his famous The Great Wave of Kanagawa, he was an emerging artist, independent of any established school and struggling to get by. A popular account tells that one day the widow of Kunisada, a former leading print artist, commissioned a painting from Hokusai. She was so impressed with the results that she paid him far more than he expected. The stunned Hokusai determined to perfect his technique so that he could support his family with painting commissions.

Five Beautiful Women comes from the first half of Hokusai’s career when he was building his reputation as a producer of luxury arts for an elite audience. Here he makes the familiar subject of beautiful women fresh and exciting by arranging them vertically. The drapery of their luxurious raiment flows from one to the next like a tumbling waterfall of silk. His unique arrangement turns an otherwise static subject into an invitingly dynamic composition.

At the time Hokusai was working, Edo’s (now Tokyo) popular culture was dominated by salon gatherings of wealthy merchants, samurai, poets, and artists. At a salon, the host would customarily hang a scroll painting, like Five Beautiful Women, in a display alcove. Elegant works of art both established an atmosphere of cultural sophistication, and provided fodder for witty repartee. Party-goers could have speculated on the classification of the five women, and debated the relative merits of the “types” they represent. They are now usually identified as either five social classes (top to bottom: a noble woman, a wealthy merchant’s daughter, a house servant to the high class, a courtesan, and a shop woman) or the five Confucian feminine virtues (poetry, flower arranging, domesticity, entertainment, and literacy).

More than just a producer of landscapes, through his long career Hokusai touched on most every genre, and mastered all that caught his interest. Five Beautiful Women exemplifies his masterful painting of women, and makes palpable why his work was in such high demand.

Five Beautiful Women, 1804-18, Katsushika Hokusai, Japanese, 1760-1849, hanging scroll; ink and color on silk, 71 x 18 1/4 in., Margaret E. Fuller Purchase Fund, 56.246. Currently on view in LUMINOUS, special exhibition galleries, fourth floor, SAM downtown.

Do Ho Suh’s “Gate” Leads SAM Visitors Through 5,000 Years of Asian Art

Seattle Art Museum on Dec 22 2011

Invited to provide a contemporary response to the historical material, internationally recognized artist Do Ho Suh created a new multimedia installation for the exhibition Luminous: The Art of Asia, on view at SAM Downtown until January 8, 2012.

Born in Korea and presently living in New York and London, Suh is the creator of the Seattle Art Museum’s famed dog-tag sculpture Some/One. Over the past year Suh and SAM have engaged in a dialogue on topics such as eastern philosophy, East Asian painting, the contemporary art scene, and art museum practices.

Suh’s installation, titled Gate, was commissioned exclusively for Luminous and transforms one of the artist’s existing fabric pieces into a screen for projection as well as a space of transition.

“Like the moment of enlightenment in Zen Buddhism, passing through a gate takes only a split second, and then it’s over,” Suh explains. “But so many things happen in such a short period of time. With this work, I wanted to extend that moment of passage, to delay it, if only for an instant, to provide the viewer that moment of insight.”

“Our notion of emptiness is quite different in the East,” Suh explains. “The void is not empty or bleak but charged with meaning.”

Watch the videos below to hear more from Suh, to see Gate in action and to take a behind-the-scenes look at the installation of the piece.

Listen Up: Record Store in the Business of Ideas

Seattle Art Museum on Dec 22 2011

I recently volunteered at SAM’s Teen Night Out, and one of my favorite moments was watching the youth interact with the record players in Theaster Gates: The Listening Room. This exhibition features a collection of thousands of records from a defunct record store in Chicago and transforms the gallery into a lounge in which visitors are invited to pick up a record and play.

Many of the teens I observed that night clearly had never seen or handled a record player before, but there was obvious delight in figuring out how to use the machines and of being able to actually touch things at a museum.

SAM Art: New acquisition, new installation

Seattle Art Museum on Dec 21 2011

One of the most penetrating portraitists of the seventeenth century, Philippe de Champaigne brought his observations of real people into religious paintings, giving them a down-to-earth quality. Here, the central focus is the aged face of Elizabeth, as she affectionately greets her younger cousin, the Virgin Mary. According to the Gospel of Luke, both women were pregnant—Elizabeth with John the Baptist and Mary with Jesus. For Christians, their meeting symbolized the transition from the Old Law to the New Law of Christianity.

Born in Brussels, Champaigne was one of the key artists working in seventeenth-century France; in his work for Cardinal Richelieu he established a style based on rationalism and directness, qualities which also mark his celebrated portraiture. His mature paintings display an understated, cool clarity that is characteristic of the French baroque and also appeals to modern viewers. This recent acquisition makes its debut in the museum’s baroque art gallery today.

The Visitation, ca. 1643, Philippe de Champaigne, Flemish, active in France, 1602-1674, oil on canvas, 44 1/4 x 38 1/2 in., Partial and promised gift of the Barney A. Ebsworth Collection, 2011.12. Photo: Wildenstein Gallery. Now on view in the European art galleries, fourth floor, SAM downtown.

Record Store: A Collaboration Between SAM and Olson Kundig Architects Opens Tonight

Seattle Art Museum on Dec 13 2011

By Guest Blogger: Alan Maskin, Partner | Olson Kundig Architects

We created [storefront] Olson Kundig Architects as an experimental work place for our firm’s community collaborations, pro-bono design work, philanthropic and volunteer work, and for design research and the development of design ideas.

The idea to have our [storefront] space become the Record Store occurred when Sandra Jackson-Dumont (Seattle Art Museum’s Kayla Skinner Deputy Director for Education + Public Programs/Adjunct Curator, Modern and Contemporary Art) visited our office to speak about her background and her practice as part of our bi-monthly lecture series. Afterwards, as we toured our office (including our [storefront] space), Sandra mentioned an idea she had for a vinyl record store, or what she calls a “storefront of ideas,” where the public could be invited to curator-led listening parties centered on a large collection of vinyl records.

She talked about it not as a pop-up, which is a popular buzzword these days, but as a social practice project. She imagined it could happen in a space like ours—I thought it was a great idea.

After several weeks of email exchanges with the general theme of “Seriously, we should do this,” it morphed into a project.

SAM Art: Wide-eyed, and perplexing

Seattle Art Museum on Dec 13 2011

The art on view in a new Oceanic art gallery (opening by the end of December) was once surrounded by the scent of aromatic flowers, the rustling of palm leaves, and the mesmerizing sound of shell trumpets. Museums tend to collect what fits in a glass box, and lose sight of such intangible effects. In particular, Oceanic artists rely on and revere natural materials, many of which may decay or dissolve but are no less valued.

Early observers of Rapa Nui culture and art recorded seeing small wooden figures being held up to the sky while others chanted and danced, particularly at feasts when the first fruits were offered. A male figure with a protruding stomach offers one version of Rapa Nui physiognomy. As with his skeletal companions, there isn’t a precise record of the significance of these remarkable images. This one may have been intended to portray a specific individual, with a small beard and ornaments in his elongated ear lobes. With their wide staring eyes and perplexing characteristics, the art of Rapa Nui continues to give observers more to wonder about than to confirm proven facts.

Male Figure (Moai Tangata), early 19th century, Polynesian, Easter Island (Rapa Nui), wood, bone, obsidian, 10 1/2 x 2 1/4 x 2 in., Eugene Fuller Memorial Collection, 68.131. On view starting at the end of December, Oceanic art gallery, third floor, SAM downtown.

Not Your Ordinary Screen Savers

Seattle Art Museum on Dec 12 2011

Apropos the fabulous Golden “Bamboo and Poppies” Kanō school screens, and the other famous and beloved screens currently displayed in Luminous: The Art of Asia, the Seattle Art Museum’s collection of approximately 70 Asian screens, has been recently rehoused in the best state-of-the-art storage cabinets available thanks to a generous federal grant from the Institute of Museum and Library Services (IMLS).

SAM’s significant collection of Asian screens includes paintings of singular artistic and cultural importance. The screens range in date from the sixteenth century to the twentieth century. Together with our collection of hanging scrolls, they convey to visitors an experience of splendid art and vivid impressions of the story of painting in Japan, China and Korea.

Although SAM’s collection has a handful of Chinese wood, lacquered and cinnabar panel screens, the bulk of the collection is comprised of Japanese and Korean painted screens. The Japanese screens at SAM fall into two categories, the byōbu, or folding screens (from two up to eight panels) and the fusuma, or sliding screens, typical partitions used to divide large rooms in temples or castles. Both of these styles are represented in Luminous.

SAM Art: The Wave Paintings of Tsuji Kako

Seattle Art Museum on Dec 9 2011

Tsuji Kako (1870-1921) was an artist ahead of his time. Working when artists in Japan were systematically divided into Japanese or Western lineages, Kako was unusual for his claim that individuality is the most important characteristic of an artist, and his refusal to conform to the boundaries of genre.

As part of Japan’s effort to Westernize, an annual exhibition of the Japan Art Academy, called the Bunten, was instituted in 1907. The Bunten enforced strict delineation between Yōga (Western-style painting) and Nihonga (Japanese-style painting), requesting that artists limit themselves to one style in order to participate. Within the context of this system, juries had no context in which to evaluate Kako’s work, which blended the two styles. Lacking support for his work from the Bunten, he abandoned the academy altogether in 1921, and held his first one-man show, an unprecedented event.

Green Waves and Waves and Plovers (both ca. 1910) come from Kako’s decade long fascination with capturing waves in paint. Although painted in the form of traditional Japanese folding screens, using Japanese materials, both express an atmospheric depth and motion absent from the Nihonga style. Green Waves features bright mineral pigments on a gold ground, a style dating back to the sixteenth century. The pigment, however, is layered on with thick, visible brush strokes, that convey the motion of light and shadow across swelling waves; a clear reference to Impressionist painters. Waves and Plovers, employing linear ink brush work on paper screens, draws on a traditional means of depicting the ocean through undulating parallel lines. Here, however, Kako renders his waves with each peak as its own small, individual line. By breaking up the lines, he is able to minutely adjust the tone of the ink and the distances between the waves to subtly create the sense of swelling motion and atmospheric recession.

Waves and Plovers (detail), ca. 1910, Tsuji Kako, Japanese, 1870-1931, ink and light color on paper, 48 1/4 x 103 in., Gift of Griffith and Patricia Way, in honor of the 75th Anniversary of the Seattle Art Museum, 2010.41.33.1. Currently on view in LUMINOUS: The Art of Asia, special exhibition galleries, fourth floor, SAM downtown.

Ultimately, Kako gave up on painting waves, saying that he “did not feel the emotional momentum” anymore, a highly modern sentiment that art ought to express the artist’s emotions. Largely forgotten after his death, Tsuji Kako’s work has received a revival of popularity in the last decade, as popular taste finally matched his expressive style.

Top photo: Green Waves, ca. 1910, Tsuji Kako, Japanese, 1870-1931, ink and gold on silk, 67 7/8 x 109 1/2 in., Gift of Griffith and Patricia Way, in honor of the 75th Anniversary of the Seattle Art Museum, 2010.41.32. Currently on view in LUMINOUS: The Art of Asia, special exhibition galleries, fourth floor, SAM downtown.

SAM Art: Sango dancewand, lecture on Wednesday

Seattle Art Museum on Dec 6 2011

Sharp drumming, sounding like a lightning strike, signals the arrival of Sango’s devotees to a festival in his honor. Dancing to the piercing, cracking sounds and staccato rhythms, the devotee will wave wands such as this to illustrate Sango’s hot temper and punishing justice.

Sango, the Yoruba thunder deity, may be wild and belligerent but he can be assuaged by the attentions of female devotees. Showing her alliance with Sango’s moral fire, this woman’s head is adorned with the double axe, the god’s visual sign. She kneels before his authority to present an offering. Such generosity is considered a noble gesture of morality and ensures that Sango will consider blessing her with children and wealth.

Women Who Tame Thunder: Yoruba Sango Staffs
Pam McClusky, Curator, Art of Africa and Oceania
Members Art History Lecture Series: New Perspectives

December 7, 2011
7–9 pm
Plestcheeff Auditorium, SAM downtown

Open to SAM members and their guests. For tickets, click here.

Members: $5.00
Guests of members: $9.00

Dancewand for Sango, Yoruba, Nigerian, wood, 19 7/8 x 7 9/16 x 4 5/8 in., Eugene Fuller Memorial Collection, 67.91. Currently on view in the African art galleries, fourth floor, SAM downtown.

SAM Art: A stucco masterpiece

Seattle Art Museum on Dec 2 2011

Two sparring horsemen, galloping toward one another, are all that remain from what was once an extended frieze. Perhaps formerly on the exterior of a building, this stucco sculpture was hardy enough to brave the elements—the only loss is the once-bright polychrome that would have covered the surface. In his 1945 book Masterpieces of Persian Art, author Arthur Upham Pope introduced readers to the selected 155 works that he considered the greatest achievements of more than 5,000 years of artistic production in today’s Iran. Of just three stucco works he included, this was the only sculpture Pope called “a genuine masterpiece of ornamentation.”

Relief with two fighting horsemen, inscription, and star medallion, 12th–13th century, Persian (modern Iran), stucco, 43 1/8 x 19 3/4 in., Eugene Fuller Memorial Collection, 54.29. On view starting next Wednesday, 7 December, Ancient Mediterranean and Islamic art gallery, fourth floor, SAM downtown.