SAM Art: Golden Screens of the Kanō School

Seattle Art Museum on Nov 22 2011

SAM Art: Golden Screens of the Kanō School

Hattie Branch, Blakemore Intern, returns to SAMart with an entry on the golden screens of the Kanō School.

During the Momoyama Period (1573-1603), drastic change came to Japanese art from an unusual source: Western firearms. As warlords vied for control of the country, Portuguese traders introduced Western guns and cannons to Japan.

For centuries, Japanese palaces had been built as sprawling, single-story complexes, with wooden floors and roofs, and paper walls. Sliding doors allowed rooms to open easily to the surrounding gardens, and even when shut, light permeated the thin paper. With the advent of firearms, by necessity, the Japanese rapidly designed towering fortress palaces. Walls thick enough to withstand cannon fire suddenly plunged the world of the elites into darkness.

<

Read More

SAM Art: Light and Dark

Seattle Art Museum on Nov 16 2011

SAM Art: Light and Dark

In seventeenth-century Europe, many artists drained their paintings of bright colors, creating drama instead through strong contrasts of light and dark. This is striking in the ceremonial gravity of Saint Irene Tending the Wounded Saint Sebastian, attributed to the French artist Georges de La Tour and his studio. The holy woman gently removes an arrow from the young soldier, who has been persecuted for his Christian faith.

De La Tour is often mentioned as one of the many followers of Caravaggio (ca. 1571-1610), the Italian artist who pioneered the use of contrast to heighten drama and religious feeling in his paintings. This nocturnal scene of deliverance was such a popular image that no fewer than a dozen other versions exist. The original painting is probably lost; this example is one of the best of the other versions.

Saint Sebastian Tended by Saint Irene, ca. 1638-39, Georges de La Tour and Studio, French, 1593-1653, oil on canvas, 42 x 55 7/8 in., Gift of Richard and Elizabeth Hedreen in honor of Mimi Gardner Gates, 2008.67. Currently on view in the European art galleries, fourth floor, SAM downtown.

SAM’s Got Talent

Seattle Art Museum on Nov 11 2011

SAM’s Got Talent

I sit right next to Joshua Gosovich every morning at the reception desk in the administrative offices of the museum. We talk a lot. We are always updating each other on the most recent movies we’ve watched. We share ideas on how to cook unusual produce. He is an adventurous farmers market shopper and I get strange fruit in my CSA produce box. (According to Josh, roasting a Jerusalem artichoke is really good!). And of course we commiserate on the woes and hilarity of a rather public desk. In addition to being the museum receptionist and my compatriot, Josh is also an artist. He is currently having an art show at the Balmar in Ballard through December 9. I realized that I didn’t know very much about Josh, The Artist. Following is my bright-light-in-the-eyes interrogation to learn more about my artist friend.

Read More

SAM Art: Oribe Ware

Seattle Art Museum on Nov 8 2011

SAM Art: Oribe Ware

Writing SAMart this week is Hattie Branch, Blakemore Intern for Japanese Art. This is her second entry in a series focusing on LUMINOUS: The Art of Asia.

Employing vivid colors and energetic, abstract designs, Oribe ware is the most dynamic type of Japanese tea ware. The style takes its name from Furuta Oribe, 1591-1615, the great tea master of his age. Designed for use in the meal accompanying the tea ceremony, a square dish like this would be used to serve fish, slowly revealing the image beneath as the meal was eaten. Oribe ware, as this tray excellently represents, broke with a tradition of elegant restraint to embrace an unprecedented level of vivacity.

This tray is meant to depict water, earth, and sky. We read it from bottom to top:

  • Starting in the lower left corner, the tray was dipped into a green glaze which visibly pooled during the firing process, evoking water.
  • Moving upward, a pink-tan band provides a bed for two semi-circles with radiating patterns. This common decorative motif represents ox cart wheels soaking in water—wooden  cart wheels needed to be soaked regularly to prevent warping. Between the two wheels, the pattern of squares and dots could represent a piece of dyed fabric. These are colors, images and activities associated with the earth.
  • The upper-most, tan portion encompasses a single large star, surrounded by three circles with trailing tails, likely comets. In the upper right corner, three arcing stripes abstractly render the long trailing clouds popular in Japanese painting. This band depicts the sky.

The ebullience that makes Oribe ware stand out amid tea ceramics reflects both the power and dynamism of the Momoyama Era (1573-1615), and, amidst political and social upheaval, a move to rebel against previous aesthetic rules, and the power structures they represented.

Square serving dish, early 17th century, Japanese, Momoyama (1573–1615)–Edo (1615–1868) period, Mino ware, Oribe style; glazed stoneware, 1 7/8 x 7 3/4 in., Eugene Fuller Memorial Collection, 56.130. Currently on view in LUMINOUS: The Art of Asia, special exhibition galleries, fourth floor, SAM downtown.

SAM Art: Rescued Treasure

Seattle Art Museum on Nov 2 2011

Sometime in the 16th century, a ship was carefully loaded with tens of thousands of Vietnamese ceramics and set sail across the South China Sea. It never reached its destination—off Cham Island, near the port of Hoi An, the ship and its cargo sank. This plate was salvaged from the wreck in the course of an open-water excavation in 1997-99. The excavation yielded wares as varied as celadons, polychrome enamels, and blue and white. All of the artifacts from the shipwreck date to the late 15th and early 16th centuries, when Vietnamese ceramic production and export had reached its peak in terms of numbers and aesthetic appeal. The formal beauty and sophisticated ornamentation of the so-called “Hoi An hoard” reveals the high level of artistic achievement reached by Vietnamese potters at that time.

Plate with floral spray, late 15th-early 16th century, Vietnamese, blue and white ceramic, 9 in. diameter, Gift of Mary and Cheney Cowles, 2000.133. Currently on view in LUMINOUS: The Art of Asia, special exhibition galleries, fourth floor, SAM downtown.

This is one of the five Hoi An works included in the museum’s current special exhibition, LUMINOUS: The Art of Asia.

SAM Art: Representatives of a Forgotten Past

Seattle Art Museum on Oct 26 2011

This fall, Hattie Branch, Blakemore Intern for Japanese Art, will share additional information about a series of masterpieces in Luminous: The Art of Asia, the current special exhibition. This is her first entry.

Works of prehistoric art stand before us, modern viewers, as ambassadors of a forgotten past that still resonates with us today. Luminous includes two such prehistoric works from Japan: a small figure with distinctively bulging eyes called a Dogū, and a large, stout, terracotta soldier called a Haniwa. Separated by approximately thirteen centuries, together they represent artistic highlights of prehistoric Japan, and embody ideas of surrogate personhood that endure to the present.

Read More

SAM Art: Tokita, Nomura, and Seattle

Seattle Art Museum on Oct 18 2011

SAM Art: Tokita, Nomura, and Seattle

Kamekichi Tokita and Kenjiro Nomura were first-generation Japanese Americans, or Issei, who made their home inSeattle. While many artists turned their sights to the Northwest’s natural grandeur, Tokita and Nomura looked to the places they knew well—the neighborhood in and around Japantown or Nihonmachi (today part of the International District), the working waterfront, and the farmlands cultivated by Japanese American families.

Labeled American Scene painters (a popular movement in American art of the 1930s) by their contemporaries, both artists’ work reveals the details of place that derive from daily familiarity, often the intimate views one sees while walking. In their choice of subject, the particularities of place and time, and the reference to cultural heritage, they describe the perspective of American immigrants who have made a new home.

Bridge, 1931, Kamekichi Tokita, American, 1897-1948, oil on canvas, 23 1/4 x 19 1/16 in., Gift of the artist, 33.230, © Kamekichi Tokita. On view in Painting Seattle: Kamekichi Tokita and Kenjiro Nomura starting on Saturday, 22 October, Seattle Asian Art Museum, Volunteer Park.

SAM Art: A Luminous Dragon King

Seattle Art Museum on Oct 12 2011

SAM Art: A Luminous Dragon King

The stern eyes and open mouth of this fearsome mask are attributes of the Dragon King, one of the Eight Buddhist Guardians. It is thought that this mask somehow came to be separated from a valuable set of eight masks, the seven remaining of which are still housed at Toji temple in Kyoto. The mask is splendidly carved and colored, and its interior is finished with a coating of expensive black lacquer, signaling this object’s high importance.

Assembled in the twenty-first century, in a museum gallery in Seattle, this mask and the 160 other objects in LUMINOUS: The Art of Asia are radically displaced from their original sites of production. Their significance has shifted from sacred to secular as they have moved from temple hall to treasure house. Here, it is their aesthetic beauty that is being celebrated, not their ritual use. The museum viewer encounters these objects with very different expectations than a thirteenth-century worshipper might have held. We expect to be educated, or even awed, but we do not—in most cases—anticipate spiritual salvation.

LUMINOUS opens to the public on Thursday, 13 October, and remains on view through 8 January 2012.

Gyodo mask of Dragon King, early 13th century, Japanese, Kamakura period, 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 the special exhibition LUMINOUS: The Art of Asia, fourth floor, SAM downtown, starting Thursday, 13 October.

Write Your Own Luminous Label

Seattle Art Museum on Oct 4 2011

Write Your Own Luminous Label

In honor of our exhibition, Luminous: The Art of Asia, opening October 13, we are launching something fun and interactive for all you SAM fans! We are kicking off a promotion called “Luminous Labels” today.

SAM curator Catherine Roche recently wrote about the art of label writing and the difficulties that curators face when telling the objects’ stories to the public. We are calling on you to write your own label for some of the artwork featured in Luminous. The winning labels will be displayed in the gallery next to the official ones.

We will be posting a picture of the work that we want you to label on our blog every other Monday morning. It is up to you to write the label for it–drawing on your interpretations, perceptions and feelings towards the piece. There is really only one rule: it must be 60 words or less. Other than that, we encourage you to have fun and be creative!

For week 1 of Luminous Labels, you will have until Friday morning, October 7, at 9:00am to submit your label to luminous@seattleartmuseum.org. The chosen label will be displayed on October 13–the opening day of Luminous: The Art of Asia–in the gallery next to the official one!

We will be inviting people to write labels for a total of 7 different objects over the course of the exhibition, October 13- January 8. Each label that is chosen will be printed up, just as a real label would be, and posted right next to the official label. Who doesn’t want to see their work displayed in a museum gallery for all the visitors to see?

Our first piece is Krishna in a garden (ca. 1660-1700).

SAM curatorial coordinator, Natasha Lewandrowski, has supplied some questions to ask yourself while creating your label that may help get your started.

Read More

SAM Art: Summer’s last stand

Seattle Art Museum on Sep 27 2011

SAM Art: Summer’s last stand

Summer may be over, but you still have one final weekend to enjoy On-Site, the summer installations at the Olympic Sculpture Park.

Since June, On-Site has brought together new sculptures by Gretchen Bennett, Nicholas Nyland and Carolina Silva. These three artists created objects, often experimental in concept and execution, that respond to the context of the park environment. Their temporary interventions have provided unexpected encounters with sculpture, encouraging fresh perspectives on sculpture and its making. Working in response to the park environment, their diverse works cast a new lens on our experience with sculpture and with the landscape at the Olympic Sculpture Park.

Although Gretchen Bennett’s installations at the Sculpture Park are fleeting, the artist’s  landscape-inspired drawing and video work can be seen in SAM’s permanent collection.

“Walking Stick from Nadonna Beach,” 2011, Gretchen Bennett, American, born 1960, driftwood, carved oak sapling wood from the OSP, latex paint, Courtesy of the artist, © Gretchen Bennett, Photo: Robert Wade. “On-Site” temporary installations on view through Sunday, 2 October, at the Olympic Sculpture Park.

TASTE Restaurant announces new hours

Seattle Art Museum on Sep 26 2011

Beginning Wednesday, October 5, 2011 TASTE Restaurant will update their hours to more closely complement the hours of the museum.

TASTE Restaurant’s new hours of operation:

• Wednesday-Saturday, 11 am – 9 pm
• Sunday, 11 am – 4 pm
• Monday & Tuesday, closed

Remember – this doesn’t take effect until October 5, so you’ve got a few more days before the Restaurant is closed on Tuesdays.

– Calandra Childers, Associate Manager of Public Relations

SAM Art: A new acquisition, all about place

Seattle Art Museum on Sep 23 2011

SAM Art: A new acquisition, all about place

Location, Location, Location

My tea and coffee sets relate to the place they are going.
—John Marshall

Destined for an art museum, a home in the San Juan Islands, and a 1950s Seattle residence, a trio of recently installed tea and coffee services glory in their sculptural delight, technical virtuosity, and the promise of a festive gathering around warm stimulating beverages. Each piece, while an exquisite work of art, was designed to be used and pours properly without a drip—the artist’s impeccable touch.

Tea and coffee pots rank as seminal works in the annals of silver production— in fact, teapots are considered a benchmark for the silversmith. Representing three decades of master silversmith John Marshall’s career, these services blend traditional vocabulary—such as towering, vertical coffeepots and shorter, more horizontal teapots—with his evolution of individual expression. The service shown here was produced as a commission for the Seattle Art Museum.

In this video, Marshall talks about his work and demonstrates metalworking techniques.

“Tea and Coffee Service,” 2008-09, John Marshall, American, born 1936, sterling silver, rosewood, Argentium sterling silver (an amalgam of fine silver and germanium), and acrylic, overall: 15 ¾ x 25 x 26 in., The Guendolen Carkeek Plestcheeff Endowment for the Decorative Arts, 2009.27.1-5, Photo: jerrydavisphoto.com. Currently on view in “Here and Now,” the new acquisitions exhibition space, third floor, SAM downtown.

SAM Goes Inside the Fishbowl at the Seattle Times

Seattle Art Museum on Sep 16 2011

SAM Goes Inside the Fishbowl at the Seattle Times

Carole Carmichael, has a new position at the Seattle Times (Assistant Managing Editor/Community Engagement) and is working with David Boardman, Executive Editor, and the staff to engage with the community in new ways. One of her tactics is inviting community organizations to the table to give feedback and be part of the process.

This week, Sandra Jackson Dumont, SAM’s Deputy Director for Education and Public Programs/Adjunct Curator, and I visited the Seattle Times and “audited” a news editors meeting.  The editors discussed highlights from yesterday’s paper and website and then the top stories for the day and Sunday.

We were then asked to give feedback about the paper and discuss what is happening at SAM and out in the Seattle world of creativity.  Let’s just say there was no shortage of suggestions for what might be compelling for them to cover.

This type of transparency is something that we are working hard at too. It was great to see them committed to pulling back the curtain as much as SAM is committed to demystifying the museum and our practice.

Do you have some ideas of ways in which we could open up our process?

 -Cara Egan, Director of Public Relations

Carole Carmichael and Sandra Jackson Dumont

 

Free PARK(ing) Day at SAM on September 16

Seattle Art Museum on Sep 15 2011

Free PARK(ing) Day at SAM on September 16

On Friday, September 16 from 10 am – 2 pm, SAM and The Trust for Public Land will bring PARK(ing) Day downtown by hijacking parking spots, feeding the meters and adding a few more square feet of green space to Seattle.

Developed by Rebar, PARK(ing) Day is a one-day global event in which artists, activists and citizens collaborate to transform parking spots into temporary public parks.

Come visit our temporary park by Hammering Man on University Street between First and Second Avene, and check out a variety of fun activities:

  • All ages hands-on art making with teaching artist Elizabeth Humphrey
  • An artist-designed cornhole game (bean bag toss)
  •  A 12 pm concert by classically trained sarod and tabla musician James Whetzel
  • Interactive photo/design activity led by Seattle Design Festival
  • “What’s Your Park Personality” quiz by TPL

Also, make a purchase of at least $10 at SAM SHOP on Friday and get a free Olympic Sculpture Park t-shirt!

PARK(ing) Day is free and open to the public. Visit us at our pop-up park, and then come inside the museum to enjoy more art.

-Madeline Moy, Digital Media Manager

Create “pop-art” during PARK(ing) Day on September 16 from 10 am – 2 pm.

Jenny Heishman Announced as 2011 Betty Bowen Award Winner!

Seattle Art Museum on Sep 13 2011

Jenny Heishman Announced as 2011 Betty Bowen Award Winner!

Today the Betty Bowen Committee announced that Jenny Heishman is the winner of the 2011 Betty Bowen Award. The award comes with an unrestricted cash prize of $15,000. In addition a selection of Heishman’s work will be on view at SAM beginning October 20, 2011. The Betty Bowen Committee, chaired by Gary Glant and administered through SAM, has selected local artists to win cash prizes for 33 years.

Read More

SAM Art: Sydney Laurence and the end of Beauty and Bounty

Seattle Art Museum on Sep 8 2011

SAM Art: Sydney Laurence and the end of Beauty and Bounty

Our painters revealed to us the matchless splendor of a scenery which shall arouse increasing astonishment and reverential awe and rapture in the hearts of generations yet to be.

—Art critic S.G.W. Benjamin, Harper’s New Monthly Magazine, 1879

 

Sydney Laurence’s career was tied to the popular interest in the Alaska Territory that followed the Gold Rush. From the time he began prospecting in the area around 1904, Laurence painted there. His paintings helped to inspire tourism, and tourism in turn led to Laurence’s commercial success.

This is an early and impressively scaled view of Laurence’s favorite and most famous subject, Mt. McKinley.  It stands as one of his greatest statements on this, America’s highest mountain peak.  He painted this impressive canvas, possibly an exhibition piece, as the U. S. government’s Interior Department was working to establish a national park with McKinley at its center, projecting: “…the creation of this national park would, no doubt, result in… additional visitors to Alaska, and would give an impetus to the settling of the country.”

Beauty and Bounty is on view through Sunday, 11 September.

“Mount McKinley,” 1914, Sydney Laurence, American, 1865-1940, oil on canvas, 38 1/4 x 28 1/4in., Promised gift of Hugh S. Ferguson, T2006.57, Photo: Paul Macapia. On view until Sunday, 11 September, in “Beauty and Bounty: American Art in an Age of Exploration,” Simonyi Special Exhibition Galleries, fourth floor, SAM downtown.

Beauty Shot Fridays: “Green” Winner and Our Final Question

Seattle Art Museum on Sep 6 2011

Beauty Shot Fridays: “Green” Winner and Our Final Question

We have really enjoyed the Beauty Shot Fridays project that we put together to give people an opportunity to respond to the themes in our Beauty & Bounty and Reclaimed exhibitions.

Last week we asked, “What does ‘green’ mean to you?” and offered two tickets to Beauty & Bounty to the photographer behind our favorite photo.

SAM staff member Liz Stone selected the winner. Liz is a digital media assistant and a member of the SAM Goes Green Team. Of the winning entry she said, “I like this photo for its simple act of gratitude. Green means all of the things people posted here and more but I found that in almost all of the submissions this week there was a sentiment of gratitude in them. Whether it was the appreciation of a backyard wonderland, or a velvety forest full of life, to the recognition of all the possibilities Earth provides―it never hurts to take a moment―and a breath―and thank the Earth for its bounty.”

Congratulations to Atsuko Nagakura! She was the photographer behind our favorite “green” Beauty Shot. There were many great pictures to choose from. Click here to see the complete album.

Beauty & Bounty and Reclaimed close September 11 so this week’s Beauty Shot Fridays question is our final one. We want to know: How has your landscape changed?

Send your photo response to beautyshots@seattleartmuseum.org by 4 pm on Friday. Our favorite photo will win a $25 SAM gift card and a copy of Puget Sound on the Pacific Coast: A Superb Vision of Dreamland by SAM curator, Patricia Junker.

-Madeline Moy, Digital Media Manager

Free days at SAM!

Seattle Art Museum on Sep 2 2011

If you missed the opportunity to take advantage of free admission to SAM and the Seattle Asian Art Museum on First Thursday, don’t fret. This weekend, there are several ways you can come visit us for free!

First Fridays: Admission is free for seniors 62+ the first Friday of every month. (And by the way, teens aged 13-19 get in free every Second Friday from 5-9 pm.)

First Free Saturday Presented by Wells Fargo: On September 3 from 11 am – 2 pm, bring your family to the Seattle Asian Art Museum to create ink drawings with music from the drums played across Asia, including Japan, Korea, India and the Philippines.

Bank of America’s Museums on Us: On the first full weekend of every month, Bank of America cardholders receive free admission at SAM and the Seattle Asian Art Museum.

Blue Star Museum Program: SAM and the Seattle Asian Art Museum are participating with the National Endowment for the Arts, Blue Star Families and over 1,000 museums in the US by offering free admission to military personnel and their families.Over 2,000 people have already come to SAM thanks to this program. Just show your military ID. The military ID holder plus up to five  immediate family members (spouse or child of ID holder) are allowed in for free per visit.

If none of these free days apply to you, please remember that admission at SAM and the Seattle Asian Art Museum is suggested, and we welcome you to pay what you can.

As Delightful as a Double Rainbow: Summer Interns Sara and Hailey

Seattle Art Museum on Sep 2 2011

As Delightful as a Double Rainbow: Summer Interns Sara and Hailey

We’re saying goodbye to the last of our summer interns. Here’s a little about Sara Portesan and Hailey Hargraves’ experience at SAM in their own words. -Madeline Moy, Digital Media Manager

Hailey Hargraves, summer intern at the Seattle Art Museum

SAM’s School & Educator Intern Hailey Hargraves treds lightly on Carl Andre’s Lead-Aluminum Plain.

Hello all! Our names are Hailey Hargraves and Sara Portesan, and we have spent the past three months as interns in the Education Department here at the Seattle Art Museum. In light of our time here, which is sadly coming to an end, we decided to interview each other and give you (the delightful and dedicated reader) a better idea of both ourselves and our roles here at SAM.

Read More

A Day as an Intern at SAM

Seattle Art Museum on Sep 2 2011

We’re saying goodbye to the last of our summer interns. Here’s a little about Alex Wade’s experience at SAM in his own words.
-Madeline Moy, Digital Media Manager

By Alex Wade

My alarm goes off at 7:30 am. Of course I hit snooze for those oh so crucial extra five minutes.  Then it’s off to the shower.  I get dressed and walk to the bus stop.  It’s 8:13 am and the 345 arrives a few minutes late like always.  I take my seat and ride to the Northgate Transit Center where I hop on the 41.  I get off at my stop and walk through the tunnel.  As I continue through the tunnel, I can see the light  (figures huh?).  I come out of the tunnel at 2nd and University right in front of SAM. It’s an impressive building and I always feel important as I swipe my card key to get into the employee entrance.  The security guard says, ”Hi Alex” as I sign in and type my pin code into the computer. Then it’s off to the 5th floor, a floor you would never expect existed unless you worked at the museum. A floor where everything that keeps the museum going is thought of, implemented and carried out.

Read More

Surf’s Up! Catch a Wave Film Series Contest

Seattle Art Museum on Aug 30 2011

The sun is out, and we’re celebrating by giving away a pair of tickets to this September’s film series, called Catch a Wave: The Art of Surf Culture. All you have to do is leave a comment that answers the following question. We’ll pick the winner out of the correct answers and let you know who won on Friday, September 2. Start guessing!

Which of these writers have written about surfing?

  1. Alexander Hume Ford
  2. Jack London
  3. Mark Twain
  4. Tom Wolfe

Good luck!

Attention SAM Shoppers

Seattle Art Museum on Aug 26 2011

Attention SAM Shoppers

Just the other day a woman who moved from Seattle to Nebraska back in 2005 came into the shop for the first time since our expansion 4 ½ years ago.  Her eyes were big with wonder as she exclaimed, “It’s so BIG and BRIGHT!”  Her excitement took me back to when I saw the newly expanded shop for the first time.  It was a big and bright canvas and the possibilities were endless. And thanks to the magical skills of our buyers and creative and enthusiastic staff, the possibilities remain endless.

Read More

All Roads Lead to SAM: New and Improved Visitor Information

Seattle Art Museum on Aug 24 2011

At the suggestion of one of our customers, SAM’s online visitor information just got tricked out. In an effort to encourage people to use different forms of transportation and to make it easier to find us no matter where you are, we’ve added several links to maps that show people how to bike, bus and even walk to SAM Downtown, the Seattle Asian Art Museum and the Olympic Sculpture Park. Some of the exciting new features include:

  • Bike rack information (did you know that there are bike racks at all three locations?) as well as maps that have bike and bus directions.
  • Links to three different public transportation sites with a SAM location already entered as the destination, as well as a link to Metro that lists all the buses that go nearby.

    Read More

SAM Art: Model Totem Pole

Seattle Art Museum on Aug 23 2011

SAM Art: Model Totem Pole

According to legend, Dan-kea was a grizzly bear hunter who was captured by the bears but escaped and returned home. Trying to quell a fever by sitting in the water, a rival chief got a sea-dog to seize him.  Dan-kea put out his tongue to feel what had touched him and his tongue stuck to the sea-dog, then was drawn out to a great length. This model totem pole has three bears with their eyes, hands and feet inlaid with abalone; the bear at the top is Dan-kea, holding his long tongue in his hands.

The small-scale totem pole is an indigenous genre that pre-dates contact: Captain James Cook personally collected one at Nootka Sound in 1778. Some model poles are diminutive, specific versions of the forty- to sixty-foot versions erected to honor the lineages of deceased chiefs and nobles. By the mid-19th century, these easily portable and compelling sculptures were in steady demand by outside buyers (including museums and World’s Fairs).

“Gyaa.angaa” (Model totem pole), ca. 1890, Haida, yellow cedar, abalone shell, height: 23 ½ in., Gift of John H. Hauberg, 91.1.44. On view in the Native American art galleries, third floor, SAM downtown, starting Wednesday, 24 August.

Dear SAM: A Love Letter From a Summer Intern

Seattle Art Museum on Aug 17 2011

Dear SAM: A Love Letter From a Summer Intern

Dear SAM,

I usually begin letters more eloquently than this. There’s usually a smooth intro, a “how do you do,” a nifty tidbit about my life. But brutal honesty is all that’s coming to mind now and I think we’re now close enough for that. So here it goes: I am going to miss you immensely. And here’s why…

Read More

Beauty Shot Fridays: What is one of your favorite summer explorations?

Seattle Art Museum on Aug 16 2011

The Stranger’s Jen Graves is on to us.

We like exploration.

In fact, we like it so much that it’s the focus of this week’s Beauty Shot Fridays question:

What is one of your favorite summer explorations?

Send your photo response to beautyshots@seattleartmuseum.org by 4 pm Friday. Our favorite entry will win two tickets to “hitRECord
at the Movies with Joseph Gordon-Levitt” on August 23 at the Neptune Theater.

Read More

SAM Art: Some Thoughts from Our Interns, Part II

Seattle Art Museum on Aug 16 2011

SAM Art: Some Thoughts from Our Interns, Part II

For this week’s SAMart, I would like to share with you the reflections of two summer interns I have been lucky enough to work with for the past several weeks. Katie Tieu and Jasmine Graviett have been friendly, thoughtful, conscientious, and eager colleagues this summer, and will be missed when they go back to their “real” lives—as a sophomore and a senior in high school, respectively.
-Sarah Berman, Collections Coordinator and Research Associate

My experience at the Seattle Art Museum    

Jasmine Graviett

You don’t find many 17-year-old girls working/interning at an art museum, but I am one of them.

Hi, my name is Jasmine Graviett and I am a YWCA GirlsFirst intern, which is an all girls program that helps young ladies get through their high school years and this program is how I got my awesome internship at SAM. Working at SAM has helped me see art in a different way and understand more about the art work. At first I wasn’t really all that into art, I only liked art that made sense to me or that I could relate to. Things that looked like a whole bunch of paint splashed on a board or something that looked like a 2-year-old drew it never really appealed to me because I thought that I could make something like that. I mean, what could be so special about that?  This summer I found out there’s a story behind every single painting and that it isn’t always as it seems.

Read More

1 … 19 20 21 22 23 … 26
SAM Stories