Chelsea Werner-Jatzke, Author at SAM Stories

History in her own words: Eleanor Antin’s Conversations with Stalin

Chelsea Werner-Jatzke on Nov 30 2012

Without much exaggeration Eleanor Antin could be called the King of conceptual and performance art. Working mainly in film, video, and performance Antin is often cited as one of the first artists to reintroduce autobiography, confession and performance to the art world during the 60’s and 70’s. In 1972 Antin created her male alter-ego with the photographic and video series “The King of Solana Beach,” in which an apprehensive king is shown reconstructing his own past by collecting pieces of his broken kingdom. Her video “The King” (1972) stands as a journal entry of the King’s evolving identity as well as showing Antin’s striking transformation from her male persona to own herself, and is on view in the exhibition Elles: Women Artists from the Centre Pompidou, Paris.

For Antin art is not necessarily an object or something that can be historically defined, but something close to her own individuality, or a memoir of history retold in her own words.

Early on in her career Antin made her name as a conceptual artist by creating works that successfully diverted traditional means of art making and artist representation. For instance her work 100 Boots (1971) used the US Postal Service to distribute photographs of 100 boots Antin had placed in various Southern California locations. The scenes were printed onto postcards and sent to artists, writers, dancers, art institutions and libraries at 3 to 5 week time intervals to create a puzzling visual narrative. The boots became travelers and characters in a two and a half year journey that finally culminated in a solo exhibition at the Modern Museum of Art in New York in May of 1973.

Her recent photographic series attempts to re-enact and modernize historical narratives by placing them under the context of contemporary American life.Helen’s Odyssey (2007), inspired by the Greek legend Helen of Troy, recasts Helen as two individual roles to exemplify polar sides of her personality. Antin shows both Helens in various scenes reacting differently to scenarios based on the Greek myths of Homer, who the beautiful and vengeful Helen eventually murders. History is here recast to portray the two Helen’s as contemporary versions of their ancient characters carrying large totes and wearing thick rimmed sunglasses.

watch?v=Wfn0I5p1dHE

Her recent memoir, titled Conversations with Stalin: Confessions of a Red Diaper Baby (2010), is a black comedy detailing Antin’s life growing up in New York in a family of first generation Jewish, communist immigrants in the age of Stalin. Join Antin for a performative reading of her new book this Saturday at Seattle Art Museum.

Seattle Art Museum

“Conversations with Stalin” by Eleanor Antin

December 1, 2012

2-3 pm

Nordstrom Lecture Hall

Ryan Peterson, Program Assistant

Eleanor Antin, “The King,” 1972. Video (black and white, silent), TRT: 52 min. Courtesy of Electronic Arts Intermix (EAI), New York.

Vigorous Sounds: Women in Music at SAM

Chelsea Werner-Jatzke on Nov 26 2012

This Wednesday night, we are excited to host French soprano vocalist Donatienne Michel-Dansac at 7:00 PM. As a guest vocalist to the Seattle Symphony Donatienne Michel-Dansac is bringing her voice to SAM as part of our musical programming in conjunction with the exhibit Elles: Women Artists from the Centre Pompidou, Paris. Her performance follows Seattle Symphony Orchestra harpist Valerie Muzzolini-Gordon’s gallery performance during SAM Remix earlier this month. Taking place amongst Sophie Calle’s photographic series Exquisite Pain in the fourth floor galleries, Muzzolini-Gordon performed elegant compositions by French composers in response to artists featured in the exhibition. Muzzolini-Gordon’s sustained harp tones echoed over the gallery space and lingered into the next room as the intricate arrangement of notes created a poignant connection with the adjacent artwork.

Donatienne Michel-Dansac will be performing avant-garde compositions by composer George Aperghis whose works are located in the field of experimental music and are known for their playfulness and theatricality. Michel-Dansac is known for performing, and often premiering, new works by contemporary composers, although she regularly performs works from all musical eras. Her performance this Wednesday will take place Plestcheeff Auditorium to give an acoustically rich performance to contrast with Muzzolini-Gordon’s gallery recital. This should be a great chance to hear Michel-Dansac perform intricate works she is familiar with in an intimate setting. Personally I am excited to hear excerpts from Aperghis’ works Récitations, a piece written for solo voice that is sprightly but vigorous, whose sound might be compared to vocalizing a computer algorithm. The night’s performance will also feature excerpts from Aperghis’ works Pubs and Zig-Bang. Michel-Dansac will also be performing with the Seattle Symphony on November 29 and December 1 with the performance Morlot Conducts Mahler.

Seattle Symphony Performance

Donatienne Michel-Dansac

November 28, 2012

7–8 pm

Plestcheeff Auditorium

Free and open to the public.

Ryan Peterson, Program Assistant

SAM Talks: Nine Antico

Chelsea Werner-Jatzke on Oct 31 2012

We are excited to host French graphic novelist Nine Antico who will be speaking at SAM Downtown in the Nordstrom Lecture Hall as part of the SAM Talks programming for the exhibition Elles: Women Artists from the Centre Pompidou, Paris Thursday night at 7 pm. This should be a great chance for aspiring graphic novelists and artists in the community to hear a fellow artist speak about their work and meet other like minded graphic artists and novelists. As a fan and collector of comic books myself I am eager to hear a little about Nine’s creative process and how she constructs her graphic narratives.

Although her comic books are all written in French the content she writes about in her most recent work Coney Island Baby (l’Association) is unmistakably American and refers to our own cultural memory. Coney Island Baby features American Icons Betty Paige, Linda Lovelace and Hugh Hefner among other figures from pop-cultulre; the title itself refers to a song of the same name by Lou Reed. As her choice of characters suggests Coney Island Baby navigates the complexities of female seduction through the imagery of Linda Lovelace and Bettie Page through a feminist reading of their respective lives as told by Hugh Hefner to two aspiring Playboy playmates. Hefner attempts to deter the bunny ear-clad Playmates to reconsider their new jobs by showing them the dark side of the Playmate lifestyle by telling them the stories of Lovelace and Page, two women separated by time but similar in endeavors for fame whose dreams were shorted by becoming famous for being naked, rather than by merit of the acting careers they had set out to attain.

Tickets may be purchased online, at the Ticketing Desk at any of SAM’s three sites or over the phone with a credit card by calling the Box Office at 206.654.3121.

Ryan Peterson, Program Assistant

Out now on L’Association

Two Sculptural Pair & A Next 50 Affair

Chelsea Werner-Jatzke on Apr 27 2012

There is a display in SAM Downtown’s Wright & Runstad Gallery for African Art holding two pairs of sculptures that provide a transcendent view of “togetherness” and what it means for the spiritual to be connected with the earth. The first is a pair of “Male and Female figures” made by the Baule of central Cote d’Ivoire. The painted wood sculptures represent spirit spouses that inhabit another world parallel to this one, and are prescribed by diviners to promote a healthy living situation between spouses. Imbued with power by the diviner each sculpture is given individual attention by its client in order for the power to be activated. Beside this pair resides a set of Congolese harps carved with faces at the end of their long curving necks to keep their players company and watch their every move. Atop flexed, carved legs their bellies would be filled with sound as the harp couple was played by two musicians travelling as a pair. During their travels the performers recited history as their livelihood and sang legendary epics.

Taken together these objects bring to mind the exhibit Theaster Gates: The Listening Room where objects form a collective history and repurposed materials find new meaning as art. The collection of records taken from Chicago’s now defunct Dr. Wax record store reminds me of the spirit spouses who are deserving of more attention. Giving attention to the records in SAM’s twice monthly DJ sets in the Listening Room (come listen next week May 3 & 6!) has allowed people in our community to come together at SAM through music. Although the spirit spouses must be decommissioned of their power by the diviner before they enter the museum the enduring coolness in their expressions continues to give meaning to their remedial function. Similarly the decommissioned fire hoses lining the walls of the Listening Room evoke memories of the civil rights movement in the 1960s where protestors were sprayed with these high pressure hoses during race riots. Our collective memory is jarred by Theaster Gates who saw value in an art object where others saw scrap material.

Considering this communal environment brings up another project Theaster Gates is involved with – the upcoming performance of “red, black & GREEN: a blues” coming to the Intiman Theater for Seattle Center’s Next 50 festival 30 May – 2 June. The performance is collaborative and interactive, written for the stage by performer, activist, and educator Marc Bamuthi Joseph. Bamuthi is working with a host of talented artists including set design by Gates. Click here to learn more about Marc Bamuthi Joseph and the Living Word Project and watch videos on the performance “red, black & GREEN: a blues.”

The central question addressed by Bamuthi is, “what sustains life in your city?” This is something he asked many people through the Life is Living festivals he has curated since 2008 in various U.S. cities and forms the inspiration that went into writing “red, black & GREEN: a blues.” By incorporating “the voices of people often left out of discussions about living green,” this conversation on the environment succeeds where others have fallen short, and actively seeks a reimagining of where we place value in our community.[i] This forms a collective experience that, through the stories Bamuthi has engaged and the recycled materials of Theaster’s set inspired by row houses, express our social ecology with power, grace, and rhythm. The success of this performance comes from the belief that “ultimately we are interdependent and stronger through collaboration,” which, like the Congolese harps and Ivorian spirit spouses, helps us maintain good relations and feel connected with the earth.

-Ryan R. Peterson, Curatorial + Community Engagement Intern

[i] Source: Mapp international productions website. Artist proframs, artists and projets, Marc Bamuthi Joseph, red, black & GREEN: a blues. Last accessed 24, April, 2012. http://mappinternational.org/programs/view/214

Top photo: “Male and Female Figures,” wood, paint, Ivorian, Baule & “Pair of Harps,” wood, skin, fabric, Congolese, Ngbaka. Photograph by the Author. Taken 4/24/12. JPEG file.

What’s in a Groove?

Chelsea Werner-Jatzke on Apr 15 2012

It’s the feeling you get from hearing music that makes you want to dance, the break in a revolving and evolving drum beat, even a familiar routine that puts you “in the groove.” Of the many definitions one is a reference to those small indentations, or grooves, on a vinyl record that, when it spins, give the needle a track to run on and produce a musical groove. Jazz musicians’ use of the term refers to hearing one musician’s seemingly effortless playing, and can be heard in the context of “that cat’s deep in the groove.” This is itself a reference to listening to records and the needle’s ability to dig even further into the vinyl at that moment in time.

The Commodores. “Movin’ On.” 1975. Photo by the author. 13 April, 2012. JPEG file.

You can also see grooves expressed in the rhythmic patterns of visual art. This happened to me on a Friday morning at SAM as I explored the collection of Australian & Oceanic Art in SAM’s Theiline Pigott McCone Gallery. I wasn’t searching for grooves in particular, but looking closely at the elongated hollow log coffins in the Aboriginal Art collection and seeing the striated line work carefully drawn in steady rhythmic cadences I suddenly thought of the grooves both musical and pressed into vinyl records across the museum in the Listening Room’s record archive.

Hollow log coffins, dupun, from central and eastern Arnhemland, Australia. Photo by the author. 13 April, 2012. JPEG file.

These groups of tall Eucalyptus logs signify a place for “sorry business,” and describe how the Yolnu, native to Australia’s East and Central Arnhemland, practice remembering deceased members of their community in a very different way from ours in the West. During the ceremony bones of the deceased are placed in the logs during ritual dances known as Dupun. The log coffins have been naturally hollowed out by termites, and are then left to the elements following the ceremony. Yolnu artists cover the logs in images of the country and designs of the clan of the deceased using a brush made of long human hair.

detail of Rirratjingu Larrakitj, (clan coffin). 2003. Wanyubi Marika. Photo by author. 13 April, 2012. JPEG file.

The grooves I saw covering the log coffins, the interlocking white lines, represent “deep knowledge, sea foam and ribbons of tide.”[1] Bones are infused into the log coffins of the Yolnu to connect deceased people back into the land. I see a further connection here with Theaster Gates: The Listening Room in that both records and the hollow log coffins provide an archive of shared history on aural and visual levels. Both of these customs are contemporary works of art that create and embrace cultural memory and shared history, highlighting the ideas and values of a culture that influenced their design. The jazz in here, or what continues to lure us in, is that they undoubtedly do this with a discernable groove.

-Ryan R. Peterson, Curatorial + Community Engagement Intern

[1] Mundine, Djon. Quote taken from the information placard relating to the Hollow Log Coffins in SAM’s Theiline Pigott McCone Gallery.

Last photo: detail of Rirratjingu Larrakitj, (clan coffin). 2003. Wanyubi Marika. Photo by author. 13 April, 2012. JPEG file.

Lumber-Made Listening

Chelsea Werner-Jatzke on Apr 2 2012

Theaster Gates’ Listening Stools, one of the sculptural forms in the exhibit The Listening Room, have helped transform SAM’s Knight-Lawrence Gallery into an open space for music and ideas. Their design may be simple and made from recycled wood, coming from the floorboards of a Chicago police station, but the stools invite visitors to sit, relax, and engage with the art, music and each other. They often lead guests to converse about a record they’re currently holding, and I can’t say how many people have learned to play their first 33 1/3” vinyl record on a turn table while sitting in one of these modest wooden chairs.

Although his artistic training is in ceramics Gates’ sculpted pieces for The Listening Room draw from his seemingly endless resources using recycled lumber as a medium that allows him to transcend artistic traditions and place focus on social engagement through discarded materials-come-art. The Listening Stools are one of these unlikely art objects carrying a history in their structure. Other lumber materials present in the exhibit are the ware board record crates (see below), the original sandwich board from Dr. Wax’s record store made to look like a Japanese Shoji screen, and the entirely recycled wood deejay table faced with a carved wooden altar screen sourced from a defunct Chicago church.

Another example of Gates’ material repurposing is his Temple Exercises (2009) at the Museum of Contemporary Art in Chicago, which constructed a temple-like structure from modular ware boards from the abandoned Wrigley Gum factory in the heart of Chicago. This became a site for spiritual exercises and performance by groups such as Gates’ own ensemble, the Black Monks of Mississippi. The same Wrigley ware boards are used in the Listening Room for the record crates that accompany the turntable in the middle of the gallery in which visitors are invited to peruse records and listen in on headphones at any time during museum hours.

“I’m one person,” says Gates, “one whole person who thinks about friendship and neighborliness and God as much as I think about object making.”[1] His chairs achieve the sense of transformation that Gates’ work self-consciously seeks to convey. Inherent in this transformation is the vinyl vertebrae lining the back wall of the gallery: Dr. Wax’s Record Archive. Entering the gallery for the first time viewers are perhaps not expecting to see a long shelf of records and deejay table. Set into the back wall Dr. Wax’s records are joined with the musical sounds that can be heard emanating from the gallery before visitors even enter the space. They are immediately faced with the aural and visual qualities of this kinesthetic installation and find themselves asking the question “How do I engage with this art?” By the time visitors reach the Listening Stools, they have intoned through osmosis the intertwining themes of music, history, politics, and space that are addressed by the exhibit. It is the music’s audio ability to communicate cultural, political, and artistic history to a public willing and able to engage that brings meaning to the lumber-made objects present in the gallery and comes full circle to connect the archive of cultural knowledge to its listeners.

-Ryan R. Peterson, Curatorial + Community Engagement Intern

[1] Art In America, December 2011, p. 126

Last photo: SAM patrons Faye Peterson and Mike O’Brien browsing records in the Listening Room. Photograph by author. JPEG file.

Faith In Analog

Chelsea Werner-Jatzke on Mar 13 2012

Until recently my attachment to records has been more or less superficial, but when I started buying ethnographic records a couple years ago I began to see how they are loaded with cultural significance for both the listener and the cultures producing them. On one such recording, entitled Afro-Cuban Music from the Roots: Tumba Francesca la Caridad de Oriente (subtitled “percussion and voices traditional and experimental”), I heard how a musical performance can be hugely influential to both the tangible and spiritual elements of a culture’s identity. Now, after being a part of the Record Store project and meeting luminaries such as Seattle’s own DJ Riz, known for his role in the independent radio station KEXP, I can firmly say, and I don’t think I’m alone here, Records are my religion.

Afro-Cuba – Tumba Francesca. 2006. Soul Jazz Records. Personal photograph by author. JPEG file.

Records are an audio phenomenon in a vinyl medium. Vinyl is a medium formatted to articulate a musical vision and in exchange the music acts as the idea-force behind the record. The idea of the neighborhood record store, now often a rare survivor of a former era, is a space with the power to put these receptacles of music’s most essential qualities into the world.

Records are indeed objects of beauty, and I would go further to say they are objects with allure and seduction. We are drawn to the music and what it evokes in us when we put a record on a turntable. Through the attraction we are able to relive familiar moments from the past or become familiar with new musics of the world. Part of this draw is how records allow us to derive pleasure from a listening experience and the recognition of our own “place” in that moment in time.

In the same vein architectural space may be viewed as “a setting into work of truth through recognition and orientation.” To quote the architectural historian Alberto Pérez-Gómez, “the space of architecture, always elusive and mysterious, is the space in which we may perceive ourselves, if only for a moment, as whole.”^{^[1]} In his Timaeus Plato names this space the “chora,” or the third element of reality in which we encounter our “other half.” I saw this happen in the Record Store all the time, especially when a slow jam like Bobby Womack’s T.K.O. made its way onto the speakers.

Love Wars by the R&B duo Womack & Womack. 1983. The Listening Room, Seattle, WA. 2 March 2012. Personal photograph by author. JPEG file.

What I see as the real beauty of SAM’s Record Store project is its freedom from monetary distinctions and ability to fully create a Platonic “chora” for anybody who walked through its door. In my own Platonic view – record stores give form to this third dimension of reality in which time becomes endless and determined only by a continuous rotation of sound waves. The neighborhood record store allowed its patrons this perception of completeness through music. I saw this potential realized by one patron of the Record Store who visited almost every day during extended “breaks” away from his job cleaning the streets in Pioneer Square. For him and the rest of us the Record Store became, in the words of Alberto Pérez-Gómez, “a site of resistance against the collapse of desire that drives Modernist technological utopias.”^{^[2]}

Reflecting on my time at the Record Store there is no place I could have better pictured myself after coming out of the ethers of academic life. Although the storefront Record Store is in the process of transformation the idea, like the song, remains the same. In fact you will be able to see the Record Store “popping up” again in the future so stay tuned in to the music.

-Ryan R. Peterson, Curatorial + Community Engagement Intern

^{^[1]} Holl, Steven. 1996. Intertwining. pp. 9-10

^{^[2]} Ibid.

SAM SHOP: Great for Holiday Shopping

Chelsea Werner-Jatzke on Dec 9 2011

The goal of any holiday shopping excursion is to find something for your friends, family or significant other that is genuinely special and will surprise them. Whether it is an amusing novelty item or an exquisite hand-made mask, it is important to find a gift that will bring a smile to the receiver’s face.

Normally, I wouldn’t go to a museum shop to buy my Christmas gifts, I’ll admit, but I decided to give it a try and it was a good thing I did. I always had it in my mind that SAM SHOP sold only museum paraphernalia, a place to sell catalogues and books on the featured artists and not a place to do my holiday shopping. Instead, I landed on a shop that I immediately knew housed items that my friends and family would love. As I walked around the shop, the first thing I noticed was a common theme. Everything I looked at was unlike anything I’d seen before. It seems clichéd to say, but it is true. Many of the pieces in SAM’s Shop are actually one-of-a-kind pieces made by local artists. Most of the hats and scarves are made locally and about 85% of the jewelry artists live in the area, setting this shop apart from other stores.

After my initial walk-through, I doubled back to the three things that caught my eye. First, there were the Whisky Stones. They were next to the graffiti cocktail shakers, which are fun in their own right but the stones seemed both useful and original. I spent a semester abroad in Scotland and if there is one thing that the Scottish take pride in, it’s the quality of their whisky, so these little guys immediately caught my eye.

In short, these are stones that keep your whisky cold without diluting the taste. You can buy an entire set with tumblers included or just the stones by themselves. Personally, I thought the idea was ingenious.

SAM Gallery Offers Sneak Peek of the Upcoming Northwest Biennial at Tacoma Art Museum

Chelsea Werner-Jatzke on Nov 30 2011

Our show Earth Matters runs through December 10 and includes the work of Portland artist Kelly Neidig. Long into the planning, neither Neidig nor the Tacoma Art Museum had any idea that the pieces in SAM Gallery’s show would also be selected for the prestigious Biennial. You can see these pieces, Monoculture 1 and Monoculture 2, right now in the SAM Gallery front windows at 1220 Third Avenue, Seattle. TAM’s Biennial show is slated for January 21–May 20, 2012.

SAM Gallery supports local art and artists and you can too by visiting during our open hours Tuesday-Saturday 10:30 am – 5 pm. We’re just two blocks east of the museum and SAM members can rent the artwork, which is a way to try it out before you buy.

The SAM Gallery show is thematically grouped around artists who are commenting on the fragile and imperiled state of the environment. TAM’s show has a related subject: “the 10th Northwest Biennial will examine the vital questions of who we are as residents of the Pacific Northwest, what we look like, and what are our aspirations for our communities.”

So what’s Neidig thinking about when she paints?

Luminous Labels: Object 3

Chelsea Werner-Jatzke on Nov 10 2011

Since the opening of Luminous: The Art of Asia at SAM Downtown, we have been asking you to give your perspective on selected objects that are on display in the exhibition. A few weeks ago, we asked you to write about the Gyodo mask of a bodhisattva.

Every other week we will be unveiling a new object on display in Luminous and we want YOU to write a label for it. The labels featured in Luminous are peppered with ideas, facts and perspectives from curator Catherine Roche and Gate installation artist Do Ho Suh. The interpretations that you give in your entries are just as important as those hanging on the wall in the gallery and we want to hear them!

We encourage you to create a label that answers the questions: how do these images make you feel? What kind journey do you think the piece took in order to get to SAM? How can you put this painting into some context? We want to know! Please send your labels to luminous@seattleartmuseum.org by 5pm on Monday, November 21. Once we have received all of the label entries for this object, we will post the ones we like best on our Blog. Natasha Lewandrowski, SAM’s Curatorial coordinator, will give her input on why the posted labels were chosen and why they would work well in a gallery. Just remember that the labels must be 60 words or less. Other than that, have fun and be creative

This 3rd installment is this oil on canvas painting by Wang Huaiging, 1944, titled Ping An – Peace VII:

We want to know your interpretations of the journey Ping An- Peace VII took to get to SAM. Please send your labels of 60 words or less to luminous@seattleartmuseum.org by 5pm Monday, November 21 to be considered for this week’s contest.

–Lindsay Baldwin, Public Relations Intern

Ping An – Peace VII by Wang Huaiqing © Wang Huaiqing Photo: Nathaniel Willson

Earth Matters at SAM Gallery

Chelsea Werner-Jatzke on Nov 4 2011

In the wake of recent un-natural disasters like the Deepwater Horizon oil spill, the Japanese nuclear catastrophe and the sinking of a barge in our very own Puget Sound last month, Exhibitions Director Barbara Shaiman has enlisted nine northwest based artists whose work addresses the current state of the environment and the ramifications of human existence on the planet.

Consume by Tom Reese ( Archival Digital Print, 29 x 39)

The idea for curating a show addressing the topic of environmental concerns came when Shaiman was recently viewing a landscape that, albeit aesthetically beautiful, wasn’t exactly an accurate portrayal of present conditions.

Luminous Labels: Krishna in a Garden Labels

Chelsea Werner-Jatzke on Oct 27 2011

We received some great entries for our first label challenge! Here are our favorites. We chose these submissions because they all exemplify techniques that curators use to help audiences engage with works of art.
Read More

Luminous Labels: Object 2

Chelsea Werner-Jatzke on Oct 20 2011

Luminous: The Art of Asia opened last Thursday, October 13. The exhibition plays with space, time, and context, especially Do-Ho Suh’s multimedia installation, Gate. Suh and SAM curator Catherine Roche worked closely on this show, and their perspectives and thoughts are represented throughout the exhibition by way of the labels.

We have the views of an innovative artist and a talented curator – all that’s missing is YOU. We invite you to join the conversation by writing your own “Luminous Label”! Every other week, we will be posting a new object featured in Luminous, and we want YOU to create a label.

Our first installment of Luminous Labels yielded some interesting labels for the painting Krishna in a garden. We received some valuable feedback on the project, and based on those comments, we have decided to make a few changes to Luminous Labels.

Instead of choosing one single label, declaring it “the best,” and posting it in a SAM gallery, we have decided to post as many labels as possible on our blog. Our goal is to add as many voices to the conversation, to show a diversity of ideas and perspectives and spark dialogue. We will be inviting everyone to write labels for a total of 7 different objects over the course of the exhibition, October 13- January 8. Your label must be 60 words or less and to be considered for the second installment, be submitted to luminous@seattleartmuseum.org by 5pm Monday, October 24. Have fun and be creative!

The second installment of Luminous Labels is the Gyodo mask of a bodhisattva (pictured below). It is a Japanese mask from the Heian Period (794–1185), 1158.

The Art of Creating a Label

Chelsea Werner-Jatzke on Sep 30 2011

On October 13, Luminous: The Art of Asia opens at SAM Downtown. SAM houses one of the finest collections of Asian art in the United States and Luminous showcases that. Totaling 160 pieces, this exhibition meshes the ancient with the contemporary while leaving room for individual interpretation and questioning. Do Ho Suh is an artist who has worked closely with SAM over the years and has contributed his own contemporary installation to the show as well as his perspectives, ideas and questions, which pepper the labels of various pieces on display.

A common thread that runs through Luminous is the highlighting of difficulties in museum practices. Museums have a very difficult job telling the public the intended message of their pieces in an accurate and concise manner. In discussions with Catherine Roche, the curator of Luminous, Suh said, “The museum is a space of displacement. Every object in a museum has been moved from its original context and placed on a pedestal.” He goes on to mention the important role that the museum has; piecing together gaps to tell the overall story. The question remains – what is the best way for the museum to tell the story? There are three common ways: guided tours, audio guides, and the ever-present labels.

We asked Roche to give us insight on the formation and importance of those labels. She wrote:

Celebrate with SAM: Diwali, the Indian Festival of Lights

Chelsea Werner-Jatzke on Sep 27 2011

Diwali is a festival of joy and merriment celebrating the triumph of good over evil. The Hindus welcome peace and prosperity by illuminating their homes with diyas or candles.

We are celebrating Diwali with two special events, and you are invited to join in the fun!

Preserving the Piece: Conserving the Olympic Sculpture Park

Chelsea Werner-Jatzke on Sep 23 2011

In light of the re-painting of Alexander Calder’s The Eagle I wondered what it took to keep the art housed at the Olympic Sculpture Park looking like new. I spoke with Liz Brown, one of the museum’s conservators. She gave me some great insight into what it takes to keep the sculptures in the park looking pristine. Read More

Need a Venue for an Event? Look No Further Than the Seattle Art Museum!

Chelsea Werner-Jatzke on Sep 15 2011

Museums are beautiful, tranquil places filled with some of the most beautiful pieces of art that history has to offer. Imagine holding a corporate meeting at the Seattle Art Museum to impress some important clients, or imagine impressing your friends by renting out the Seattle Asian Art Museum to throw a party, or even more amazing, imagine yourself getting married in the Olympic Sculpture Park with the Seattle waterfront as your backdrop! Many people are unaware that we can make these dreams a reality. You can rent just a portion of the museum or the entire building if it suits your needs and then have the event catered by our fabulous restaurant TASTE.

Jamie and Jared felt that the Olympic Sculpture Park was the perfect place for a ceremony and had an afternoon that they will never forget. Jamie and Jared were married on September 18, 2010 in the Park and our summer TASTE intern, Kristina Krug, had the chance to ask them a few questions about their wedding. Here’s to wishing them a happy one year anniversary from all the folks here at SAM!

Totems and Trees: A Tour of the Native American Art Galleries

Chelsea Werner-Jatzke on Sep 14 2011

Hello SAM fans! My name is Lindsay Baldwin and, I am a (very) recent graduate of Western Washington University with a Bachelor of Arts in Communication as well as in French. My number one passion is traveling. I was lucky enough to have lived in Edinburgh for six months. During breaks, I traveled extensively through Europe. I have visited many museums around the world and if I had to choose one of my favorites (besides SAM, of course!) it would have to be the Van Gogh Museum. I am very excited to be a part of this great museum for the next three months and cannot wait for the challenges that lie ahead.

If you have not yet checked out the Native American art that SAM has to offer, then I suggest that you put a tour of the galleries on your to-do list.

The History in Art History, Part II: How This Painting Came to Seattle!

Chelsea Werner-Jatzke on Jan 27 2010

Recently I blogged about the scant history of the museum’s magnificent painting by Frederic Church, entitled A Country Home, which was a gift to the museum in 1965 from one Mrs. Paul C. Carmichael. For five years I’ve been wanting to learn more about Mrs. Carmichael and how she came to Seattle and how she came to bring with her her great grandfather’s impressive picture by Church. I’ve been surprisingly lucky in research so many times that I’m now convinced that some strange forces guide our hands as we delve into the past—forces that make sure that lives are never forgotten. The forces directed me to Mrs. Carmichael just last week.

Frederic Edwin Church (American, 1826-1900), A Country Home, 1854; oil on canvas 32 x 51 in. Gift of Mrs. Paul C. Carmichael, 65.80

The History in Art History: How did this painting get to Seattle?

Chelsea Werner-Jatzke on Nov 16 2009

Frederic Edwin Church (American, 1826-1900), A Country Home, 1854; oil on canvas 32 x 51 in. Gift of Mrs. Paul C. Carmichael, 65.80

For me, a work of art lives on in part by its association with people, places, and times past and present. When we see objects in museums, in isolation, how do we understand them as expressions of a maker’s personal vision and circumstances and of viewers’ expectations in the artist’s own time and over the course of generations? Each object of historical American art that I work with has endured because someone—a collector, a critic, an artist’s descendant, maybe—has been its champion, often when few others were. Historical American art has for so much of our past been overshadowed by the taste in this country for European art, which signaled for so many the ideal of artistic achievement and good taste.