SAM Connects with Artist-in-Residence Kimberly Deriana

Your next chance to experience the Olympic Sculpture Park through the Indigenous lens of SAM’s winter resident is tonight, February 27 from 7 to 9 pm! Architectural designer and artist Kimberly Deriana (Mandan/Hidatsa) has spent the last two months working in the park researching, offering workshops, and constructing a temporary installation. Deriana has used her residency as a space for sharing Indigenous knowledge surrounding the many uses of cattail materials. The temporary cattail and cedar structure she has created is a space where everyone is invited to gather and experience cultural celebration. The event will include performances by Aiyanna Jade Stitt and Hailey Tayathy, and storytelling and song by Kayla Guyett and Paige Pettibon.

Kimberly Deriana specializes in sustainable, environmental Indigenous architecture, housing, and planning. Deriana’s methodologies focus on incorporating Indigenous lifestyle practices in relation to past, present, and future, designing for the 7 generations. We sat down with her to learn a little more about her experience as SAM’s artist in residence and to learn more about her creative process.

SAM: What goals do you have for your residency at the Olympic Sculpture Park? 

KIMBERLY DERIANA: I want to activate the park through an Indigenous lens. As an architect designer and somebody who loves urban design, I’ve been drawn to this park since I first moved here. Part of creating visibility is bringing other people along in the process and giving them opportunities, too. I really try to include people and families who have been doing this work for years while giving new urban Native people outlets in every project on which I work.

This residency is a learning opportunity for me; the way I enjoy learning is to involve others. It’s about the way we learn as a community, the way we make as a community, and the way we approach being in the world and sustainability. When you’re gathering cattails, there’s an appropriate time to gather and there are appropriate places to gather. Learning all of that protocol has been really eye-opening. Because I grew up as an urban Native and wasn’t always shown those protocols, I try to make a conscious effort to create space and time for the protocol knowledge as an adult.

Tell us about the workshops and youth that you worked with to include Indigenous communities.

I’ve always done art and design but being in the art scene is a new space for me; I wanted to explore the co-creation process. Sharing resources is an important component of the process, I believe. This space has a very educational, institutional vibe and it lends itself to the scope needed for community workshops. The scale of the work required to enliven the space needs many hands. The piece itself is practice and healing work.

The collaborators and I were here most weekends in January and February. Since we are on Suquamish and Duwamish traditional lands, one weekend we had Indigenous teachers from Suquamish. These amazing women who are educators for and from their community—Tina, Jackson, and Kippy Joe— and the amount of information and knowledge that they share  in four hours is just indescribable. You can’t get that on YouTube or from a professor. You have to experience their oral teachings to begin to understand the richness and depth of the knowledge.

We had three Indigenous youth that day, and then we had a couple visitors just stop by who were interested in what we were doing. We had time to teach them and they got to learn. Every weekend I’ve had at least one Indigenous teen come in and help work with us through a partnership with yəhaw̓.

What are some of the historical uses of cattail mats?

In this region, mats were traditionally used as sheathing for summer structures. Mats are used all over the world, globally and indigenously for different surfaces. In the Plateau, Plains, Woodlands, and Southeast regions, mats are used for protection and warmth on their architectural structures.

Cattails have a multitude of uses. They protect us. When they’re just in the ground they clean the water and remove toxins. They can be food; they can be shelter; they can be water. When gathering cattails in the right spots, their uses extend beyond those listed so that one can understand the sustainability that the plant provides. Plant knowledge leads to understanding sustainability; sustainability leads to healing; healing leads to understanding their sacredness. I want everyone to know this.

I’m trying to make paper with cattails because I think that’s a more respectful use of them since they were gathered in the late fall season. I am super excited to do more scientific research on the sustainability of cattails, learning more traditional knowledge about them, and weaving. I realize you can approach a project and commit to working with a material, but then all these other sacred teachings come up, such as  how to work with other materials and plants. It’s not homogenous when we’re learning about our plant relatives.

Why have some of the cattails been cut and others left long and uneven?

As I started the process of creating this temporary installation with cattails some teachers said it was okay to gather now. When we made some mats, I knew they were not ideal materials and then, in the middle of the month, I learned that you should gather cattails at the end of summer for making mats. For this reason, some of the mats are trimmed and others are raggedy, in order to reveal the imperfection of the process. I like to break things apart until they become abstract, so that even though I’m using really traditional materials, the way I use them means you can’t necessarily tell what it is. For example, maybe your eye reads it as hair or as a bone or antlers. The raggedy mats—having them be more than one thing–helped convey that abstract concept. I think that process was kind of successful.

My architectural background makes me interested in exploring this building and wall system and I started to research and dissect like I normally do for a project. In architecture, you’re always researching and then drawing your theory. In art, you’re fabricating your theory. That’s when all this new information appeared to me. When you start to source your material and put it together, like, “This is why you have to harvest at a certain time and why you have to know where to gather and to get the reeds that are a certain height.” There are just all these little steps that make the process more efficient and that our ancestors knew and had good engineering minds for. I’m still doing it by trial and error and trying to find mentors.

The description of the temporary installation mentions that the structure is a portal for healing. How is this present in the work that is in the PACCAR Pavilion?

The sculpture forms a circular arbor and basket-like space. It incorporates some of the knowledge of the medicine wheel into the directions of the space and the layout. The teachings of the medicine wheel helps to orient our bodies with the land, plants and animals, nature and natural forces. In Plains tribes, you enter from the East like the sunrise. Here, in the West, a lot of structures face the water. All of the weavings that we made with Tina and Kippy are on that side and create filtered views to the water as much as possible since the water is so special. The North can reference the future, moving on, and death in some ways, too. The northern, open view gives people the opportunity to see that beautiful view of the park. The cattail threshold symbolizes a doorway into the future. A sustainable future holds the promise of healing.

– Chelsea Werner-Jatzke, SAM’s Content Strategist & Social Media Manager

Photos: Jen Au

Muse/News: Virginia’s legacy, Yardbird goes opera, and the Museum Walk

SAM News

Virginia “Jinny” Wright, a pillar of the SAM family, passed away last week at the age of 91. The Seattle Times obituary of the collector and philanthropist noted that she “lived for art—and dedicated herself to sharing it with others.” KUOW and ARTnews also shared remembrances of her legacy. She will be greatly missed.

KEXP’s Hans Anderson interviewed SAM curators Foong Ping and Xiaojin Wu about the reimagined Seattle Asian Art Museum for their Sound & Vision show; head to their archive for Saturday, February 15 for the story, which started at 7:49 am.

More coverage for the Asian Art Museum appeared in GRAY Magazine, Post Alley, and 425 Magazine.

Local News

You have until this Saturday to check out the Jacob Lawrence works on view at Greg Kucera. The Seattle Times’ Brendan Kiley wrote about the artist’s “big, beautiful panels for real-life superheroes.”

The Stranger’s Jasmyne Keimig keeps an eye out for what’s “Currently Hanging”; right now, it’s Agnieszka Polska’s Love Bite at the Frye Art Museum.

Tom Keogh for Crosscut on Seattle Opera’s “promising, dynamic production” of Charlie Parker’s Yardbird, which explores the life of the jazz legend.

“So the piece, like Parker’s music, is full of extremes, pushing the voice’s boundaries,” [tenor Joshua] Stewart says. “When you have a piece this difficult, you have to bring to it everything you have to offer. You have to go on the full journey.”

Inter/National News

OK, this is definitely a thing: Museum Walk gives you back pain. Hyperallergic has tips to alleviate it from posture expert Mark Josefsberg.

Payal Uttam for Artsy on the most recent edition of the India Art Fair (IAF) in New Delhi, and what it said about the market for South Asian art.

Artnet’s Taylor Defoe reports on the Oakland Museum of California’s recent pivot to measuring their success by their “social impact,” rather than by usual metrics.

“This is coming at a time when museums and other cultural institutions are really trying to make a case for their existence,” says the OMCA’s associate director of evaluation and visitor insight, Johanna Jones, who led the project. “We know we make a difference in people’s lives, now we need to really demonstrate it through measurable metrics.”

And Finally

More movies for your list, post-Parasite.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Virginia Wright in her Pioneer Square gallery, Current Editions, August 1967. Photo: © Mary Randlett. All rights reserved.

Muse/News: We heart Asian art, keepers of the dream, and Parasite’s art

SAM News

The Seattle Asian Art Museum is officially reopen! Thank you to the thousands of people who streamed through the reimagined galleries at the free housewarming event last weekend. The museum starts regular hours on Wednesday, February 12.

“I felt freed, well, just to look”: Stefan Milne examines Boundless at the Asian Art Museum and The American War at ARTS at King Street Station, which both “explore how we see Asia.”

Seattle Refined shot a recent episode from the museum, including a fantastic segment with SAM curators Foong Ping and Xiaojin Wu (starts at :40).

And ParentMap’s JiaYing Grygiel has this charming look at the museum through the eyes of kids and families.

Local News

I Google this every Oscars season. Here’s a breakdown from the Seattle Times on those harder-to-understand categories.

The Stranger’s Charles Mudede on the work of Marisa Williamson, who has two shows on view in Seattle at SOIL Gallery and Jacob Lawrence Gallery.

Crosscut’s Margo Vansynghel on the new local documentary, Keepers of the Dream: Seattle Women Black Panthers, which premiered last Friday at Northwest Film Forum and will screen again on February 20.

“Women were critical to the survival of the organization,” [Robyn] Spencer says. “They were the movers, the shakers, the theorists, the thinkers, the organizers — they were keeping the party going.”

Inter/National News

Artist Beverly Pepper died this week at 97. Two of her works grace the Olympic Sculpture Park. Here’s Artnet’s obituary for the legendary sculptor.

Here’s Artnet on director Bong Joon-ho’s use of suseok, or “scholar’s rocks” in his Oscar-winning film Parasite.

The New York Times’ Roberta Smith on the late, Seattle-born painter Noah Davis, whose work is again on view in a “big, beautiful exhibition” at David Zwirner.

“Your eyes and mind enter them easily and roam through the different layers of brushwork and narrative suggestion. There’s an unexpected optimism to all this. The paintings also dwell in silence, slow us down and hypnotize.”

And Finally

Did you know that the Asian Art Museum will screen this film on February 26? Well, we will!

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jueqian Fang

Muse/News: The Asian Art Museum debuts, a conductor’s big moves, and exploring Material Art

SAM News

The Seattle Asian Art Museum reopens to the public this weekend with a free two-day celebration. 10,000 free tickets for the housewarming event have been claimed, but the museum reopens with regular hours on Wednesday, February 12.

SAM welcomed press to see the reimagined and reinstalled museum this week, and the coverage is everywhere, including The New York Times, The Seattle Times, The Art Newspaper, Architectural Digest, Vanguard, Puget Sound Business Journal, and more. Seattle Channel’s CityStream hosted a special edition with guest host Lori Mastukawa from inside the Asian Art Museum, interviewing SAM curators Foong Ping and Xiaojin Wu.

“The larger questions we’re asking for this reopening are, ‘Where is Asia? What is Asia?’” says Xiaojin Wu, the curator of Japanese and Korean art at the museum. “We’re showing how the borders are fluid throughout history.” –From The Art Newspaper

“When the Asian Art Museum opens on Saturday, the architects hope that previous visitors will see their museum in a new light. Says Amada Cruz, CEO and director of the Seattle Art Museum, ‘We could not be more excited to open the doors of the museum and welcome everyone back.’” –Elizabeth Fazzare, Architectural Digest

“With so much to see and contemplate in the Seattle Asian Art Museum, there needed to be space to let the mind wander into a void for a bit. The experience would not be complete without it. The curators and architects all should be commended for seeing through a new vision that will expand audience’s awareness of Asia, but also remind them that the human pursuit of beauty and the sublime is, indeed, timeless and boundless.” –T.s. Flock, Vanguard

Local News

Crosscut shares a story—and impressive footage—of Seattle Symphony’s new conductor, Thomas Dausgaard, who “feels the music in his hair.”

The Stranger’s Jasmyne Keimig devotes a recent edition of “Currently Hanging” to Amerocco, one of the incredible pieces in Aaron Fowler: Into Existence, now on view at SAM downtown.

For Seattle Met, Charlie Lahud-Zahner visits the Sea Mar Museum of Chicano/a/Latino/a Culture, and finds catharsis.

“As a Latinx Seattleite often feeling like the last brown unicorn in the Ballard Trader Joe’s, and on the lookout for authentic representation, this south side museum is a godsend.”

Inter/National News

Have you checked out Artnet’s Art Angle Podcast? Here’s the latest episode, exploring “How the Art World Fell Under the Spell of the Occult.”

The New York Times’ Fabrice Robinet explores the international meetups TypeThursday, which brings together people who really care about fonts. A lot.

Jennifer Li reviews Allure of Matter for ArtAsiaPacific; the exhibition is now on view at LACMA and heads to SAM this summer.

“With works that emphasized the immaterial, or the breakdown of matter, the exhibition begged the question: how applicable is the term Material Art? It seems that at this early stage, the label may conjure more questions than answers.”

 And Finally

We Heart Asian Art.

Installation view of “Be/Longing: Contemporary Asian Art” at the Asian Art Museum, 2020, photo: Natali Wiseman.

Muse/News: The Asian Art Museum prepares, art preachers & martyrs, & #DollyPartonChallenge

SAM News

Check out this week’s edition of the International Examiner, with a special section on the Asian Art Museum that reopens on February 8. It includes articles on Be/longing, the building itself, the Gardner Center, a know-you-before-you-go for the opening weekend events, and a special thank-you from SAM. Articles on Boundless and the conservation center should hit online tomorrow—see everything in print now.

Farewell, Flesh and Blood. T.s. Flock of Vanguard had one last round-up of “grim highlights” from the exhibition that closed on Sunday. Up next downtown: John Akomfrah: Future History.  

Local News

Seattle Times’ Megan Burbank heads to Twisp to explore the artsy, the sustainable, and the inventive of its communities.

“Preacher of the arts”: Crosscut’s Margo Vansynghel interviews Raymond Tymas-Jones, president of Cornish College of the Arts, who has a bold plan for the institution’s future.

Margo also recently visited with the local performers who came together to form the Art Martyrs Relief Society.

“The concept of their endeavor . . . is simple: Put together one show a year with a kickass lineup, pay the performers royally, preach the gospel that working artists deserve a fair wage, have a damn good time and repeat.”

Inter/National News

Jacob Lawrence: The American Struggle is now on view at the Peabody Essex Museum. Reviews landed from the Washington Post’s Sebastian Smee and the Boston Globe’s Murray Whyte. The exhibition travels to SAM next year.

Barack and Michelle are going on tour! Hyperallergic’s Hakim Bishara reports on the five-city tour of their official portraits by Kehinde Wiley and Amy Sherald, which kicks off in June 2021.

Bethan Ryder for the Guardian on projects around the world integrating museums and interactive learning experiences.

“After a long pause a nine-year-old said: ‘Objects have rights.’ The phrase has stuck. It captures both the need to conserve objects and to consider them as active participants in the museum experience.”

And Finally

Museums take the #DollyPartonChallenge. (SAM’s was the best).

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jueqian Fang

SAM Connects Asian Art to Seattle for Free!

The Seattle Asian Art Museum reopens February 8 and we want to be sure you know all the free and discounted ways that you can visit the reimagined and reinstalled museum!

Even though the Housewarming: Free Reopening Weekend is sold out and we are not accepting walkups on February 8 or 9, there are many other opportunities to visit for free. Today’s Seattle Asian Art Museum breaks boundaries to offer a thematic, rather than geographic or chronological, exploration of art from the world’s largest continent. The restoration of the historic Art Deco building, improvements to critical systems, expanded gallery and education spaces, and a new park lobby that connects the museum to the surrounding Volunteer Park are just some of the ways the Asian Art Museum has been transformed and preserved as a cultural and community resource for future generations.

An important part of the work that took place while the Asian Art museum was closed for renovation and expansion isn’t something you will notice about the architecture or art. The City of Seattle financially supported the preservation and improvements of SAM’s city-owned Art Deco home and in return, we made a commitment to offer more free ways for members of the community to visit the Asian Art Museum!

  • All exhibitions are suggested admission at the Asian Art Museum when purchasing tickets onsite. You can pay what you want.  See Boundless: Stories of Asian Art and Be/longing: Contemporary Asian Art on view when the museum reopens!
  • Many programs such as lectures, performances, and tours at the museum are free and include free entry to the galleries. Check out our Free First Saturdays series for kids!
  • SAM provides discounted rates for students, teens, seniors, and military with ID.
    • Seniors (65+) and military can visit for $12.99
    • Students and teens age 15–18 can get tickets for $9.99
  • Children (14 & under) are always free.
  • SAM members are free. Join today and RSVP to see the museum before it opens to the public during the Members Open House on February 5 and 6.
  • First Saturdays and the Second Thursdays of every month are free to all.
  • The First Friday of every month the Asian Art Museum is free for seniors.
  • Bring a group of 10 or more and get discounted tickets. Find out more about group visits!
  • Educators can visit for free anytime with ID. Mark your calendars for a special Educator Open House at the Asian Art Museum on February 27!
  • Did you know that we now offer free school tours for all public schools at all SAM locations? We also offer bus subsidies for title 1 schools. School tours at the Asian Art Museum start march 1—find out more!
Photo: Jueqian Fang

SAM Connects Teens to Design

This past summer, 10 teens from the Rainier Vista community joined Seattle Art Museum staff, Olson Kundig Architects, and Sawhorse Revolution for SAM’s one of a kind Design Your [Neighbor]hood Program. Each Design Your [Neighbor]hood program is unique, but this one was truly special because it was the first time that the youth participants got the chance to collaborate in the full design and build process. The teens worked with designers, architects, and builders to take their ideas from the visioning and planning stage, to ideation, refinement, and finally to building. 

Design Your [Neighbor]hood is a hands-on program run by Seattle Art Museum that exposes youth to all facets of design, and the connection between design and community change. From architecture to graphic design, fashion, and photography, youth have the opportunity to understand the breadth of this field, meet professionals through trips and office visits, and engage in design thinking and studio processes that give first-person experience.

This year’s group of teens living in the Rainier Vista community, near Rainier Vista Neighborhood House recognized a need for a community sound booth and recording studio. With so many budding performers and musicians in the neighborhood, they were often renting spaces for recording.

The design and build process involved a number of field trips during which the teens gathered ideas and inspiration from notable architectural spaces, and met with various professionals for advice. They visited the Bullitt Center on Capitol Hill and the Olson Kundig offices in Pioneer Square. They also worked to gather input on design ideas from their peers in the community, making sure to be inclusive of all voices and needs as they finalized their design.

After multiple refinements of the process through input from Chris Landingin, project manager at Batt + Lear, and Jesse Kingsley and Chris Poules, architects at Olson Kundig, the youth got to building. Collaborating with Sawhorse Revolution, the teens learned the essentials of power tool safety and introductory carpentry skills. Between the design refinements and the building time, it took them a little over seven weeks to complete their project.

The culminating celebration featured presentations from each teen on their favorite part of the program, specific skills they picked up throughout, and how they envision the space will be used by their peers and the community. Families, friends, and community partners all got a chance to participate in the celebration on a job well done!

Thank you to our partners, Seattle Housing Authority, Delridge Neighborhood Development Association, Olson Kundig Architects, Sawhorse Revolution, Christine Landingin from Batt + Lear, and Hearst Foundations for all of their support.

– Sarah Bloom, SAM’s Associate Director of Education

Photos: Eleanor Howell-Shryock

Muse/News: Majesty at SAM, beyond Bollywood at MOHAI, and stories of Asia

SAM News

“Magisterial and filled with drama”: The Wall Street Journal’s Judith Dobrzynski explores Jusepe de Ribera’s Saint Jerome in the paper’s “Masterpiece” column; you can see the incredible painting at SAM in Flesh and Blood: Masterpieces from the Capodimonte Museum, on view through January 26.

“The wrinkles on his face, his palms and his right heel are visible, as are the toenails on his forward foot. His setting may be remote, but this Jerome is a real human being.”

The Seattle Times’ Brendan Kiley has “5 Seattle-area arts events to look forward to in 2020” and leads with the Asian Art Museum reopening.

In case you missed it: The Seattle Times’ December 21 print edition featured photojournalist Alan Berner’s behind-the-scenes look at the Do Ho Suh installation in progress with Liz Brown

David Carrier for Hyperallergic on the “endlessly inventive” Jörg Immendorff, whose solo show is now on view in Madrid; his Café Deutschland 38. Parteitag, just added to SAM’s collection in honor of Kim Rorschach, is now on view. 

Local News

Crosscut’s Margo Vansynghel on the new art installations at Seattle-Tacoma International Airport that will be giving the airport a first-class upgrade.

It’s Hot Toddy time, declares the Stranger’s Rich Smith.

Sharmila Mukherjee for the Seattle Times reviews Beyond Bollywood: Indian Americans Shape the Nation, on view at MOHAI through January 26.

“The most compelling aspect of the show is its focus on faces. Radiant faces loom out from images on the walls. At a time when immigrants are being described as dangerous, faceless people, these faces ask visitors to pause and look.”

Inter/National News

Artnet’s Sarah Cascone rounds up all the artworks now entering the public domain.

Hannah Brown for Vox on the year in protests—and the art that inspired and was inspired by them.

The New York Times’ Will Heinrich reviews the Brooklyn Museum’s reinstallation of its Chinese and Japanese collections, calling it “5,000 Years of Asian Art in 1 Single, Thrilling Conversation.”

“Redesigning an American museum’s Asian wing is no mean feat. How to convey the very real throughlines that make terms as broad as ‘Chinese art’ and ‘Japanese art’ meaningful, while also doing justice to the staggering variety of these ancient, and hugely populous, cultures?”

And Finally

Elena Ferrante, Beyoncé, and emoji: The Atlantic’s Culture desk takes on the pop culture of the 2010s.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Saint Jerome, 1626, Jusepe de Ribera, Spanish, 1591–1652, oil on canvas, 105 1/8 × 64 9/16 in., Museo e Real Bosco di Capodimonte

Sea Change at SAM Gallery

Learn a little about one of the newest artists to join the SAM Gallery roster. Anne Marie Nequette‘s work will be on view in SAM Gallery from January –February 1 in the show New Art, New Artists 2020!

Nequette approaches her work from a background in sculpture, installation, and architecture. Her current body of work, Sea Change, focuses on the rapidly increasing displacement of people in coastal cities worldwide that are considered at high risk. She thinks about all of the people who live at the sea’s edge, and how water levels are now expected to rise, and where will those millions of people go? and how? She has long been concerned about “where we humans are headed regarding climate change, from forest fires to coastal flooding, from collapse of agricultural lands and practices to collapse of necessary species, oceans, and safe drinking water, etc. The power of water is something that many people underestimate, and only those who have survived a flood or hurricane have some idea of what that might be like.”

The idea and the initial list of cities for Sea Change came from an article in The Guardian in 2017.[1] It included interactive maps of Shanghai, Hong Kong, Osaka, Rio de Janeiro, Miami, The Hague, and Alexandria that showed the grave danger these cities face, given their high population numbers (Shanghai at 34.8 million in 2015) and/or precious agricultural land (Alexandria and the Nile Delta). She works abstractly, primarily in paint and collage. If she has been to the city depicted, she relies on her experience to create a color and texture palette from paper on which she draws and paints. If she has not been to the city, she reads about the city and travels via Google image, and Google satellite maps looking at the city from above as well as from the street, to get a feel for what it is like. As she works, she imagines a city that has become inundated, though not completely underwater.  Each of these works is titled with the population figures from governmental sources for the metropolitan areas and the works are named for the people, their cities, and the year the population number was last updated, i.e., ‘Shanghai, China, 39.4 million in 2015’.

– Pamela Jaynes SAM Gallery Coordinator 

[1] The three-degree world: the cities that will be drowned by global warming, (Friday, November 3, 2017) Josh Holder, Niko Kommenda and Jonathan Watts (updated May 28, 2018). 
Bangkok, Thailand, 14.6 million in 2010, Anne Marie Nequette, Collage on canvas. Keihanshin (Kyoto, Osaka, Kobe), Japan, 19.3 million in 2010, Anne Marie Nequette, Collage on canvas.

Muse/News: Café con leche, Kenny G, and ancient art discovered in Sulawesi

SAM News

Amada Cruz, SAM’s Illsley Ball Nordstrom Director and CEO, was interviewed by Puget Sound Business Journal. She shared her vision for museums, her morning routine of café con leche and public radio, and other fun facts.

“We should think of museums as civic spaces where all kinds of people can meet, convene, have a shared experience and celebrate our shared humanities. That’s more important now than ever.”

“She speaks five languages — ‘three of them badly.’”

How’s your holiday shopping going? The Seattle Times recently shared their Holiday Gift Guide; among their recommendations for gifts for men is a SAM Shop-exclusive, a Seattle edition of the chic reusable water bottle, Phil the Bottle.

Local News

Crosscut’s Agueda Pacheco Flores interviewed Kenny G. Enough said.

“The Terminal 86 Grain Facility Is Hideous. It Must Be Painted” declares Gregory Scruggs in the Stranger. He argues that the facility near the Olympic Sculpture Park is the only “loose end” in the plan for the downtown waterfront.

The Seattle Times’ Scott Greenstone on Collaboration on Canvas, a new show at CORE Gallery, an exhibition of collaborative paintings by homeless people, social workers, and volunteers.

“It was community, and a bunch of women sharing space and time, and doing something together,” Giller said. “It was different every time, but it was always a good feeling.”

Inter/National News

From Artforum’s December print edition, here are 34 artists reflecting on their favorite exhibitions and events of 2019—including Natalie Ball on Guadalupe Maravilla and Judy Chicago on John Akomfrah’s Vertigo Sea.

Artnet’s Katie White on Homage to the Great Latin-American Masters at Houston’s Art of the World Gallery; the exhibition explores the complexity of classifying borderless Latin American art.

An archaeological study of dozens of caves on the Indonesian island of Sulawesi has turned up visionary examples of art—perhaps the oldest known figurative art made by modern humans.

“Scrambling up a fig tree vine, he found his way into a small grotto. Its far wall bore a panel, painted with a red ocher pigment. When Aubert saw it, he was astounded. ‘I thought, wow, it’s like a whole scene,’ he says. ‘You’ve got humans, or maybe half-human half-animals, hunting or capturing these animals … it was just amazing.’”

And Finally

The Cloud Appreciation Society.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Natali Wiseman

Muse/News: Judith reigns at SAM, The Stranger gets lured, and Denise Murrell joins the Met

SAM News

Location, location: LUXE Interiors + Design offers this preview of the ‘smartly revamped” Asian Art Museum, and the downtown museum gets some love in Conde Nast Traveler.

Last week, Gina Siciliano—the author I Know What I Am: The True Story of Artemisia Gentileschi—gave a My Favorite Things tour at SAM, and Crosscut’s Brangien Davis recommended it in last week’s “Things to Do”. If you missed it, don’t despair: there’s still plenty of time to experience Gentileschi’s masterpiece, now on view in Flesh and Blood: Masterpieces from the Capodimonte Museum.

Local News

The Seattle Times’ Paul de Barros on Seattle jazz club The Penthouse, which presented A-list performers in the ’60s. Now, archival recordings from the club will be released on November 29.

Real Change’s Lisa Edge on the mixed-media work of Jite Agbro; her work Deserving is on view at the Bainbridge Island Museum of Art (BIMA).

The Stranger’s Jasmyne Keimig on Lure at MadArt, a structure-sculpture by Dream the Combine and local artist-engineer Clayton Binkley that “explore[s] the body in relationship to space, light, and environment.”

“Within the piece, I was more mindful of my steps because of the way the mesh was ever so slippery beneath my boot. I became aware of a slight unease at being so close to a skylight I’d admired from the concrete floor below.”

Inter/National News

Paul Laster writes about Do Ho Suh’s work for White Hot magazine, including past presentations at SAM and his theme of displacement. The artist’s Some/One will be a centerpiece of Be/longing at the Asian Art Museum.

Here’s Max Duron of ARTnews on the hiring of Denise Murrell as associate curator at the Metropolitan Museum of Art; Murrell’s work will overlap the modern & contemporary and European painting departments.

Theaster Gates speaks with André Wheeler of the Guardian about his preservation of neglected Black cultural objects, including the gazebo under which 12-year-old Tamir Rice was murdered in Cleveland.

“From our conversation, Gates seems to envision a city-sanctioned and -funded memorial. ‘I want to believe that the city is open to it,” he said. “I believe Samaria has the right to ask the city to receive this sacred space.’”

And Finally

Shirin Neshat’s artistic inspirations.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Photo ©Tim Griffith

SAM PSA: Hands Off the Art

First things first, no rollerblading and don’t sell vape juice in the galleries.

Seriously though, we want you to have a great visit to SAM and with Remix (SAM’s late-night, creative night out that is definitely not a party) coming up on Friday, November 15 (tickets are still available, FYI), Weird Dog Productions is here to help outline how to behave at our museum.

Don’t touch the art, leave your selfie sticks at coat check, stay hydrated at the water fountains, and you’ll be an art influencer in no time. And remember, the Seattle Art Museum appreciates you!

SAM Membership Goes Green: New Digital Cards!

Yesterday, SAM rolled out an exciting new era for members! With new digital membership cards we are reducing plastic and paper waste, increasing convenience, and saving museum resources, allowing us to put more of your membership contribution towards connecting art to life. All while offering the same great benefits—now available through your smartphone wallet.

It may take several days for you to receive the email with your digital membership card. Dual members and higher, you may not receive your second card at the same time. If you do not receive your digital membership card by Monday, November 11, please contact us.

Remember, using a digital card is an option! You can continue to use your plastic membership card or we can always verify membership status at the Ticketing Desk when you present your photo ID.

What do you need to know now that SAM membership has caught up with the digital age? Check out our FAQ!

Muse/News: Mirrors in art, Kusama’s parade, and the pumpkin

SAM News

Flesh and Blood: Masterpieces from the Capodimonte Museum continues to wow. Ashley Nelson reviews the exhibition for Seattle University’s Spectator, calling it “a treat for the art enthusiasts and novices alike.” And the Seattle Times includes it on their list “the hottest events” in November.

Here’s London-based magazine Elephant on the symbolism of mirrors in contemporary art, with Zanele Muholi’s self-portrait Bona, Charlottesville, 2015 as a jumping-off point. See it at SAM before it closes November 3.

Local News

Tantri Wija for the Seattle Times with “unusual things to do” for Halloween if you’re too cool for trick-or-treating.

Who made that portrait of Earl, though? Real Change reports on the return of Earl Lancaster’s landmark barbershop to the “powerful corner” of 23rd and Union.

The Stranger’s Jasmyne Keimig reviews Robert William’s The Father of Exponential Imagination, now on view at the Bellevue Arts Museum.

“A technically skilled draftsman, Williams’s works are often psychedelic, depicting an alternate, surreal reality. Jaws unhinge so that the tongue can become a sort of beast to ride, Tarzan-like men wrestle with aliens, and hungry spirits reach toward burgers covered in demons.”

Inter/National News

There will be a Yayoi Kusama-designed balloon in the Macy’s Thanksgiving Day Parade this year called Love Flies Up to the Sky. Yes.

The US Army announced this week a new reserve group of curators, conservators, and archaeologists—yes, like the Monuments Men and Women—charged with protecting cultural heritage in the Middle East.

Lee Lawrence for the Wall Street Journal on the Brooklyn Museum’s overhauled galleries of Chinese and Japanese art; other thematic presentations, including at the Seattle Asian Art Museum, are mentioned.

“As difficult as it can be to trace the stories and power plays behind objects, presenting a permanent collection involves the even more daunting task balancing what curators want to say with what they can, given the strengths and weaknesses of their museums’ holdings. One current trend is to structure displays thematically. When the Seattle Asian Art Museum reopens in February 2020, for example, its installation will use works from different times and places to explore such common concerns as identity and worship.”

And Finally

It’s a Halloween tradition! Once again, here’s The Pumpkin Dance.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view Flesh and Blood: Italian Masterpieces from the Capodimonte Museum at Seattle Art Museum, 2019, photo: Natali Wiseman

Object of the Week: Study for Aleko’s Horse

Marc Chagall was a prolific artist, producing numerous pieces in a variety of media. Renowned for his richly colored, idiosyncratic style of painting that weds abstraction and Cubism, some of his lesser-known masterpieces revolved around the theater. Chagall’s relationship with the stage began in 1911, when he worked on set designs for the Ballets Russes. He continued to contribute to Russian-based stage designs throughout the ‘20s, before moving to Paris in 1923.[1] While this was an artistically productive period for Chagall, the Nazi occupation of France made living in Paris unsafe for the artist, who was Jewish. With the assistance of organizations working to extricate artists and intellectuals from Europe, Chagall and his wife immigrated to New York for the duration of World War II, arriving in the United States in 1941.  

In 1942, Chagall was hired by the Ballet Theater of New York to design the ballet costumes and sets for a new play. Based on the poem “The Gypsies,” by Alexander Pushkin, the ballet Aleko featured music by Tchaikovsky.[2] The ballet follows the story of Aleko, the protagonist who falls in love with a Romani girl named Zemfira. Their love is not everlasting, however, and by the fourth act Aleko kills Zemfira and her new lover in a fit of jealous rage. While Chagall had worked on set designs before, this was the first time he applied his skills to a ballet. He ultimately designed four backdrops—one for each act—and over 70 costumes. While the ballet’s production was to be completed in New York, union rules forbade Chagall from painting his own sets. As a result, production moved to Mexico City, an environment which greatly influenced Chagall’s designs. Heavily inspired by both Russian folklore and Mexican art and architecture, Chagall produced beautifully whimsical hand-painted ballet costumes and backdrops, including numerous design studies.

Chagall’s Study for Aleko’s Horse is one such study, merging images from both the second and fourth acts of the play. The study’s rich, vibrant colors and whimsical subject matter capture the dynamic and psychological aspects of the story. In the second act, which revolves around a lively carnival, Aleko and Zemfira are still in love. By the fourth act, Aleko dreams of strange and nightmarish fantasies, with images that twist and swirl before his eyes. Aleko’s nightmares take him to the brink of insanity—and, jealous and enraged, he kills Zemfira, in love with another man.[3] The juxtaposition of these two scenes represents the dramatic turn of events, synthesized in Chagall’s study as a densely layered, colorful dreamscape.

Hayley Makinster, SAM Curatorial Intern

[1] Stephanie Barron, “Marc Chagall and Twentieth-Century Designs for the Stage,” LACMA Unframed, 1 August 2017. https://unframed.lacma.org/2017/08/01/marc-chagall-and-twentieth-century-designs-stage
[2] Liesl Bradner, “Marc Chagall Reveals his Theatrical Side in LACMA’s ‘Fantasies for the Stage,’” LA Times, 23 July 2017. https://www.latimes.com/entertainment/arts/la-ca-cm-chagall-lacma-20170714-story.html
[3] Leland Windreich, “Massine’s ‘Aleko,’” Dance Chronicle 8, no. ¾ (1985): 156-160, http://www.jstor.org/stable/1567580
Image: Study for Aleko’s Horse, 1953-56, Marc Chagall, Oil on canvas, 18 × 24 in. (45.7 × 61 cm), Gift of Gladys and Sam Rubinstein, 2014.26.9 Estate of Marc Chagall/Licensed by Artists Rights Society (ARS), NY

Cat Vallejo: Emerging Arts Leader Look at SAM

Very early on in my role as one of SAM’s Emerging Arts Leader Interns, our mentor, David Rue, asked us to write down three personal or professional goals we wished to achieve during our time here at SAM. To be completely honest, I was all over the place during the first few weeks, as I was struggling to find where I fit into the museum to be a successful intern. Despite feeling this way, the one thing that I was certain and hopeful for was to make SAM a place I happily call home: be a part of SAM and SAM be a part me.

As a student at the University of Washington Bothell, being my whole self and feeling at home is what truly made me happier than I ever imagined. In order to feel that same happiness at SAM, I tried to be fully present by having a positive mind and heart. I reminded myself to be my bubbly and kind self and to be comfortable with the people around me. This was way easier said than done.

On top of feeling like a lost intern, I was already struggling with adjusting to a lifestyle that was the exact opposite of what I was used to. I wanted to be a big fish in a little pond that everyone looked up to for guidance. However, being in a new, urban city where nobody really knew me meant this wasn’t the case anymore. I felt lost between the Cat that grew up in California and the adult Cat that lives in Washington. Where would I go? Who am I supposed to be? With all these new changes and heavy feelings, I thought to myself, “I don’t how I’m going to achieve my goal or if I’m even going to get there. Good luck.”

Priya Frank and Seohee Kim are the two mentors I give all my gratitude to for guiding me through my struggles. Talking to them made me realize that I was still a tiny fish in a huge pond that needed to be willing to grow and learn from others. This was a reminder to be humble and to remember that learning and growing never stops, even when you think you’re at the top. Growing only starts when you are uncomfortable, yet willing to feel and embrace that discomfort with an open mind and heart to learn something new. Their kind words of wisdom touched my heart.

After this realization, I started to feel like I could reach my goal. The big project we had the opportunity to do was the My Favorite Things Tour. For this project, I researched different art pieces, connected them to real-life experiences, centered everything around a specific theme, and proudly presented my work to the public. Wow! I will always remember our first practice of walking around and talking about the different artworks we had in mind for our tours. I knew I was on the right track in connecting the art to my personal journeys, but there was much more research and practice that needed to be completed.

After this practice I was motivated to reach out to the curators to learn more about the different art pieces, which was exactly what I did. It was so inspiring getting to hear from and learn from the curators and see how passionate they are. I also learned more on my own by reading books about the artwork and artist. Most importantly, completing all the work would not even be half of what it was without my fellow colleague and friend Lauren Farris, the other Emerging Arts Leader Intern. Working closely with her gave us the space to learn from each other’s personal and professional experiences, all while sharing this internship together. I remember practicing our tours in the galleries, just talking through them while sitting down, and always changing our art pieces and stories every time we practiced. Being by each other’s side allowed us to be vulnerable and really push through to make these tours happen.

When the day finally came, we were there for each other to see all our hard work come to life. That is just so amazing to me because there were so many people and experiences collaborating to create something great. Swimming with the big fish was not so scary after all. As I said during my tour when I was talking about Childe Hassam’s Spring on West 78th Street, “from this painting and my experience with my SAM family, I learned that home is not a place, but a feeling.” Saying these words with my whole heart, showed me that I was able to reach my one and only goal, despite being so lost in everything else. This internship was more than I hoped for and now that it has come to a close I can truly say that I was a part of SAM and SAM will always be a part of me. SAM is a place I happily call home.

Cat Vallejo, SAM 2019 Emerging Arts Intern

Photos: Natali Wiseman

SAM Connects Students to Art for Free

A new school year often welcomes crisp air, spiral notebooks, and pumpkin deliciousness. This school year brings one other exciting change: Seattle Art Museum school tours will now be free for all public schools at all SAM locations! Bus subsidies are also available for Title 1 schools. Offering free tours for public schools grew out of SAM’s mission and strategic plan to champion access and equity for all. The museum firmly believes every student deserves access to high-quality arts education and creative learning. 

Even though the arts remain a required school subject by Washington State law, arts education is often one of the first programs to be cut. According to ArtsEd Washington, “In Washington State, 75% of elementary students receive only two hours, or less, of arts education each week.” Not only that, but Create Advantage Seattle notes, “Race, family income, and home language are all predictors of a students’ access to arts education in Seattle Public Schools.” 

Research reveals that consistent arts education improves high school graduation rates, empathy, motivation to stay in school, critical thinking, voter turnout, and even raises math scores. Arts Impact says, “Arts-infused learning in reading and math eliminates the achievement gap between children of color and poverty and their white upper/middle-class peers.” Also, SAM’s Kayla Skinner Deputy Director for Education and Public Engagement, Regan Pro, strongly believes in furthering arts education. “Everyone talks about how they value things like creativity and innovation. If we are saying that but aren’t supporting arts in schools, then how do we expect those muscles to grow?”

Typically, school tours at SAM start with a warm welcome from a trained docent or tour guide and a teaching artist. The docent or tour guide leads the group into SAM’s galleries where students and teachers might stare into the eyes of a giant mouse sculpture, learn the history behind Kwakwaka’wakw house posts, or discover a treasure chest lock in the Porcelain Room. With three locations and art from all over the world, tours can complement and enhance any curriculum.

After the tour, SAM’s teaching artists facilitate an art-making experience based on the works that students just saw in the galleries. Students walk away holding their own work of art, such as a three-dimensional sculpture, a two-point perspective painting, or a self-designed family crest. Plus, teaching artists provide students with an opportunity to view potential career paths in the arts.

“Being in the art museum was a new experience for many of my students. They were intrigued and, to my surprise, were able to connect with some artists. I feared they would find the museum too “high-brow,” but the variety of art allowed most to connect in some way.”

– Educator

In addition to free school tours, SAM has continued to develop school partnerships. One of those partnerships, called “Drawing from Nature,” is now in its fourth year. Through this partnership, SAM offers all second graders in Highline School District a chance to explore the Olympic Sculpture Park. Building off these field trips, SAM provides lesson plans and professional development sessions to teachers. Furthermore, SAM is partnering with Seattle Public Schools on a new program at the Seattle Asian Art Museum when it reopens in early 2020. This partnership supports third through fifth-grade teachers as they build connections between art and social studies.

“This was an amazing experience and many of the themes were continued to talk about and apply in other subject areas.”

– Educator

SAM’s Senior Manager of School & Educator Programs, Anna Allegro, says school partnerships provide students with a sense of ownership of SAM. “We’ll work with a school for five years, the kids will come every year, and they just have this sense of ownership and comfort. It’s so different from when they first walked in where SAM might have felt like an intimidating kind of space. Our goal is that students know they can be seen and heard here.”

With SAM’s partnerships and free school tours, the museum is honored to support arts education and creative learning for all young people whilst continuing the goal to promote equity and access for all. As much as art museums play a role in advancing arts education, this mission extends beyond our four walls to everyone in the community.

“Everyone can be an advocate for arts education. If you’re a parent, talk to your principal. Talk to your PSA. Ask them how they are supporting the arts. How is that a part of their classroom? If you’re a grandparent or if you live in a neighborhood, understand what the public school is in your neighborhood and how you can help support it.”

– Regan Pro

Learn more and book a free school tour at SAM before they fill up!

– Lauren Farris, SAM’s 2019 Emerging Arts Leader Intern

Photos: Robert Wade

Gardner Center goes down the Silk Roads of History

What is it about Silk Roads history and art that interests so many people? In the late 19th century, German geographer Ferdinand von Richthofen coined the term ‘Silk Road’ or ‘Silk Routes’ as part of his map-making efforts. After all, better maps of travel routes had commercial value for access to coal or building railroads, for instance. In the early 20th century, several spectacular “discoveries” (ie, new to the West) of magnificent troves of art and manuscripts in Central Asia and western China fueled the fascination.

Courtesy of the Dunhuang Academy, photo: Wu Jian. 

Now the plural ‘Silk Roads’ is used to better describe the many complex historic trade routes through the Eurasian continent. The idea of commercial exchange across a continent that involved interactions of many cultures, languages, religions, and arts can be such an appealing picture of cosmopolitan societies—in contrast to present-day tensions at home and abroad. “Silk Road nostalgia” refers to interpreting this history in the imagination as a time of tolerance and international understanding as well as prosperity, rooted in hope for peaceful and respectful global exchange in future.

The Jewel of Muscat, a reconstructed replica of a ninth century Omani trading ship, sails into the harbour of Galle, 116 km (72 miles) south of the Sri Lankan capital Colombo, on April 19, 2010. The ship, built in a traditional design without nails and sewn together with coconut fibers, left Oman on February 15 to re-enact the old trade routes used by Arab traders, with its final port of call in Singapore, according to the organizers of the voyage. AFP PHOTO/ Lakruwan WANNIARACHCHI. (Photo credit should read LAKRUWAN WANNIARACHCHI/AFP/Getty Images)

The fall Saturday University Lecture Series, Silk Roads Past and Present: From Ancient Afghan Treasure to China’s Belt and Road Initiative, presents current understandings in seven lectures. Beginning with a talk on the Begram Hoard excavated in Afghanistan, we consider how these storerooms from the first century CE could contain Roman glass, Chinese lacquer, and extraordinarily carved ivories from India. A talk on Maritime Silk Roads explores the shipping that actually transported more goods than overland routes, despite the persistent image of camel caravans.

Bodhisattva leading a lady to the Pure Land (detail), Chinese, Tang dynasty, c. 851–900 CE, Hanging scroll, Ink and colors on silk, Height: 80.5 centimetres, Width: 53.8 centimetres, ©️Trustees of the British Museum. 

The Silk Roads also saw the spread of Buddhism, and two speakers explore Buddhist art in China. Two lesser-known religions are introduced in a talk on Zoroastrian and Manichaean arts. And what about silk? Find out about silk and fashion in Tang Dynasty China, as trade made new textile technologies, colors, and patterns available.  The series concludes with a talk on China’s current international initiative also referred to as the New Silk Road. Please join us!

– Sarah Loudon, Director, Gardner Center for Asian Art and Ideas

Image: Mogao Cave 237. Image courtesy of the Dunhuang Academy, photo: Zhang Weiwen. 

Muse/News: Muholi recommended, radical love, and a new look at Basquiat

SAM News

Aesthetica makes five recommendations from around the world to see, including Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness at SAM.

Seattle Magazine is out with their list of the “21 Best Things To Do in Seattle in August 2019.” Remix at the Olympic Sculpture Park makes the cut.

Local News

The Seattle jazz scene has two sad losses to report: the closure of legendary club Tula’s at the end of September, and the retirement of Clarence Acox, Garfield High School’s jazz band director.

In addition to their booth-to-booth coverage of this past weekend’s Seattle Art Fair, Crosscut has pieces by Emily Pothast and Margo Vansynghel examining the various outcomes of the Fair on the local art scene.

The Big Art Weekend wouldn’t be complete without the incredible satellite events; here’s Gayle Clemans for the Seattle Times on the free festival:festival, which also took place over the weekend (SAM’s David Rue is one of the curators!).

“The festival will highlight ‘artist-driven portraits of identity,’ which will take many forms including visual art and performance, according to co-curator and dance artist David Rue. ‘We’re using this approach so that artists can provide a counterpoint to the dominant narrative told about people that look like them while celebrating the power of culturally responsive rigor.’”

Inter/National News

Baltimore is great city full of great people. And now this! Artnet reports that the Baltimore Museum of Art will dedicate “a year’s worth of exhibitions dedicated to female-identifying artists throughout 2020.”

“What Does Radical Love Look Like?” Hyperallergic’s Seph Rodney explores that question at the Ford Foundation Gallery’s latest show, featuring work by Athi-Patra Ruga, Lina Puerta, and Ebony G. Patterson.

The New York Times has a fascinating look Basquiat’s ‘Defacement’: The Untold Story at the Guggenheim; curated by Chaédria LaBouvier, the show centers on a painting that depicts the tragic death of a young Black artist.

‘”This is someone becoming — finding themselves, finding their voice, finding their practice,’ Ms. LaBouvier said. ‘I didn’t want to make him into a myth, or make him into a sort of trauma-porn story either. And I thought the best way to do that was to take a step back and let him speak for himself.’”

And Finally

Evergreen story.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, Seattle Art Museum, 2019, photo: Natali Wiseman.

Muse/News: Muholi’s gaze, disco photographs, and Space Age fashion

SAM News

Crosscut’s Brangien Davis reviews Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, saying the self-portraits “stare right back at you—and, unlike you, they don’t blink.”

“Throughout it all Muholi looks straight at us with those unflinching, wide-open eyes. ‘Yes?’ they seem to say. And also: ‘I see what you see when you see me.’”

Rainy Julys mean MOVIES. Have you been to our new film series, Comedy Gold from the American Cinema? Check out films every Thursday night recommended by Seattle Magazine and The Stranger, now through August 15.

Local News

The Stranger’s Dave Segal on the Nordic Museum’s exhibition of photography by Hasse Persson, who captured some of the most important political and cultural moments in America from 1968-1980—including shenanigans at Studio 54.

The Seattle Times’ Moira Macdonald goes to camp, checking out the Met’s latest fashion exhibition—and finding some resonances in MOHAI’s current show of Northwest style.

Farewell to Marvin Oliver, artist and professor emeritus at the University of Washington, who died this week at the age of 73.

“’We have lost an amazing mentor and elder in our community and his legacy will live on,’ Olsen said. ‘And those of us who understand his vision and mission to support the Native students and enhance the visibility of Native art and culture will make him and keep him proud and forge on with his legacy.’”

Inter/National News

Pictures worth a thousand (and more) frames: here’s Artsy on six films inspired by famous photographs.

Farewell to Philip G. Freelon, who was “arguably the most significant African-American architect in recent history.” He died recently at the age of 66.

Space seems to be on everyone’s mind. Enter the Brooklyn Museum, with their new retrospective Pierre Cardin: Future Fashion, full of his “youth-fueled modernism” aesthetic.

“They were garments that projected utility but were irresistibly sleek and sexily alienish; clinically pristine, yet sinuous—all the appeal of an Eero Saarinen Tulip chair, but made for the body.”

And Finally

So the trailer for CATS happened. The Internet had some feelings.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, Seattle Art Museum, 2019, photo: Natali Wiseman.

Muse/News: Muholi arrives, an unlovable tree, and monuments to rad Women

SAM News

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is now on view at SAM, and it’s not to be missed. Here’s Elena Martinique for Widewalls and Victoria Valentine of Culture Type on the South African visual activist’s work.

Jasmyne Keimig of the Stranger offered this sneak peek; keep an eye out for her feature story on the show.

Outside suggests “11 Alternatives to Crowded Outdoor Instagram Spots,” with the sculpture park handily beating the gum wall.

Give a read to Casey Arguelles Gregory of The Eye’s post about what we do with problematic art; Claire Partington: Taking Tea at SAM is given as an example of how to respond.

“[The installation] creates a stunning dialogue between the historical ‘porcelain room’ and our modern attempt to reckon with the colonialism and institutional racism that necessitated the creation of these beautiful objects.”

Local News

The Stranger doesn’t like our city flag. They’re throwing a design contest for a new one (non-binding). (SAM tickets are among the prizes!)

Crosscut’s Brangien Davis on Beili Liu’s new show at MadArt, which addresses the global refugee crisis with clothing frozen in place by cement.

The Denny Substation has a sculpture called Transforest—apparently the tallest public art in the City—that the Stranger’s Jasmyne Keimig calls “unlovable.”

“Obviously, Transforest can’t capture certain things about trees—their smell, the sound of leaves rustling in the wind, their sense of knowing. But as I stood underneath it, sweating under all that sun, trying to figure out this sculpture, I realized I was missing something simple, easily capture-able about trees—their shade.”

Inter/National News

Artforum reports on the ongoing controversy involving the proposed destruction of a mural at San Francisco’s George Washington High School; now 400 academics, writers, and artists have written an open letter opposing the plan.

Elsewhere in school murals: Dr. Maya Angelou is celebrated in over two dozen eye-catching murals throughout the campus of the Dr. Maya Angelou Community High School.

And elsewhere in rad women monuments: Zachary Small of Hyperallergic reports on the proposed monument on Roosevelt Island to the groundbreaking journalist Nellie Bly.

“Almost 132 years later, the intrepid reporter will return to the scene of the story that made her a hailed heroine of journalism as a permanent monument.”

And Finally

If you are not always eager to learn more about Bob Ross, then I just don’t know what to tell you.

– Rachel Eggers, SAM Manager of Public Relations

Photo: Installation view Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness at Seattle Art Museum, 2019, photo: Natali Wiseman.

Muse/News: Victorian extra-ness, tree art, and what happens when artists curate

SAM News

Crosscut’s Brangien Davis recommends that you “judge for yourself … and consider just what makes art radical” in her write-up of Victorian Radicals.

And GRAY Magazine’s Rachel Gallaher chats with curator Chiyo Ishikawa about the exhibition on “what’s so radical” about it.

“Rich in saturated color and minute detail, the works sit in bold contrast to the zeitgeisty minimalism and pastel palettes of the past few years. It’s a rather refreshing aesthetic twist, and a veritable feast for the eyes.”

Watch Evening Magazine’s thoughtful story on Hear & Now, featuring interviews with artist Trimpin, poet Pam Winter, and Path with Art director Holly Jacobson.

Comedy Gold from the American Cinema kicks off this week; with classics like The Thin Man and The Awful Truth it’s no wonder the series is included on Seattle Magazine’s list of “21 Best Things to Do in Seattle in July 2019” and is one of the Seattle Times’ “hottest Seattle events for July 2019.”

Congrats! SAM trustee Charles Wright has been named Middle Market Family Business Executive of the Year by the Puget Sound Business Journal. 

Local News

Crosscut’s Agueda Pacheco Flores (just named New Journalist of the Year by the Society of Professional Journalists [Western Washington]!) visits The Beacon, Columbia City’s new single-screen cinema.

The Stranger’s Rich Smith wrote about Seattle’s newest “pretty dreamy” dance company, Seattle Dance Collective; their first show, Program One, premieres at Vashon Center for the Arts this weekend.

An SOS, a lofty reminder, a memento mori: Crosscut’s Brangien Davis visits Ted Youngs’ new Smoke Season installation and looks at some other trees in art, including John Grade’s Middle Fork at SAM and the Neukom Vivarium at the Olympic Sculpture Park.

“They peer up at the tree, which stands parallel to the Space Needle — one conceived as a beacon of humanity’s bright future, the other an urgent message from the here and now.”

Inter/National News

You love to see it: As part of NPR Music’s exploration of the Seattle music scene, they look at “11 Visual Artists Creating The Look Of Seattle Music.” 

Who knew this was such a rich genre? Artnet’s Caroline Goldstein brings you the “Finest Artistic Depictions of Totally Wasted People Ever.”

The New York Times’ Roberta Smith on Artistic License at the Guggenheim, a show curated by six artists—one for each of the ramps of the museum’s rotunda.  

“Artists look at a collection more freely and greedily than most of us, from odd angles. They often ferret out neglected or eccentric treasures, highlighting what museums have but aren’t using; they can also reveal a collection’s weaknesses, its biases and blind spots.”

And Finally

A world of cages.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view “Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement” at Seattle Art Museum, 2019, photo: Natali Wiseman.

SAM Connects to the Hear & Now

We believe art is for everyone and right now everyone can experience a new kinetic sound sculpture installed at SAM’s 1st and Union entrance. Playing music, projecting poetry, and covered in the text, drawings, and collage by artists with lived experiences of homeless, Hear & Now is a collaboration between internationally celebrated artist, composer, and musician Trimpin and Path with Art students presented for you to view for free!

Built from an antique hand-pulled wagon originally built by Trimpin’s father in Germany, the work is activated by pressing the play button situated next to the object. Each tap triggers a different musical composition or poem created in collaboration with teaching artists. Hear & Now is free and accessible to all and will be on view through July 15. Visit the entire museum for free on Thursday, June 6, and catch the Hear & Now Performances and Artist Talkback taking place 6–8:30 pm featuring pop-up performances by the student artists, a movement piece directed by Rachel Brumer and Monique Holt accompanied by the musical compositions played by the sculpture, and a chance to hear from Trimpin.

Get primed for Thursday evening with this interview with Trimpin and a Path with Art student artist.

SAM: How did you start working with Path with Art?

Trimpin: Five years ago, I was Composer in Residence with the Seattle Symphony Orchestra. The last year of the three-year residency involves a public-outreach workshop. I decided to work with a group of Path with Art student artists. I was first introduced to Path with Art at a performance at the Hugo House; I was impressed with the artistic caliber of all the performing artists.

Tyler Marcil: Jennifer Lobsenz, the Program Director at the time, asked me to participate in this project in the summer of 2017. We worked with Christina Orbe for six weeks and Yonnas Getahun for two weeks over the course of eight workshops at Trimpin’s studio.

During these workshops, we created found poetry – I had never done anything quite like that before. I took a story that I had already written called, “The Woman on the Sidewalk,” and pulled words from that story to create new poems for the sculpture. A year later, I was invited to record work for Path with Art at Jack Straw Cultural Center.

What is the significance of the wagon wheel as a foundation for the sculpture? How does it relate to experiences of homelessness?

Trimpin: When I was beginning to conceptualize the interdisciplinary workshop, mobility and transition was a major consideration. Aware that most homeless people are in continual transition, the wagon-wheel was a starting platform to build up the story, not just metaphorically, but literally as a sound object which is mobile. It is similar to the way the wagon was used in my family to haul a variety of items around, and I still remember watching my father when he was building the wagon from scratch.

How did the artists collaborate on the creation of the final sculpture?

Tyler: The first group to meet was our group—the poets. The visual artists then took the found poems we created, turning these magnificent words into different pieces of art. Then the musicians came and made compositions inspired by the language and the artwork.

Hear & Now allowed many people to contribute their skills to this larger project. The people who were involved all have different ways of expressing themselves. Through this project, their voices are heard, and they are able to speak from their soul through their medium. Without this opportunity, they might feel silenced—without a voice, or without their voices being heard.   

Can you share a moment of discovery or breakthrough in the process that left an impression on you? Why did that moment stand out to you?

Trimpin: Artists in general are not collaborating with other artists very often. A part of the workshop was to teach each student that we don’t have to compete with each other; and we actually can work together and contribute each individual’s expertise to make the project successful. This process was very important to me and the project would not exist without the great commitment and interaction of each individual student.

Tyler: I don’t like hearing my own voice. When we were recording our stories at Jack Straw I could feel my heart racing because it’s a voice that my mother created by teaching us to speak a certain way. I could hear the –eds and the –ings. Those were important in my household growing up.

When I was forced that day to listen to my voice I cried inside because I realized—my voice is beautiful. And had I known that it was beautiful, I would have listened all along. And now when I ask people, what is it about my stories or poetry that you like? They tell me, it’s your voice.

What do you hope the sculpture can inspire in a viewer?

Trimpin: My hope is that the viewer can hear and see that a group of Path with Art student artists—adults—who have lived the experience of homelessness, addiction or other trauma, have earned the ability, knowledge, and imagination to collaborate, design, write, and compose and to achieve a project at this high artistic level.

Tyler: I hope that Hear & Now will bring awareness of people who have lived experience of homelessness. That the person living that experience could be you. We shouldn’t allow ourselves to be prejudiced, or disown others as though they don’t exist.

And I think by having a sculpture that shares these wonderful voices, not only are you hearing their voices, but your hearing that they’re a person. The voice you hear is coming from them, from their humanity.

How does the upcoming performance connect to the sculpture?

Trimpin: For the upcoming performance, the students are performing live, interacting with the instrumentation of the wagon with their own voice or instrument.

Tyler: It ties together these themes of voicelessness and visibility for those experiencing homelessness. It connects to the sculpture because it’s using American Sign Language to present stories for those who cannot hear or speak, and ties in this concept communicating in different ways—with our voices, but also with our hands. This whole project is about lifting up those who have so often been silenced, and widening our circles of empathy and understanding, and the performance brings together both people with lived experience, and those without while exploring these themes.

– Chelsea Werner-Jatzke, SAM Content Strategist & Social Media Manager

Images: Installation view Hear & Now at Seattle Art Museum, 2019, photos: Natali Wiseman.
Path with Art would like to extend a special thank you to Seattle Department of Neighborhoods for making this project possible.

Muse/News: Unplugged Studios, a home for Black art, and Subway Dogs

SAM News

SAM’s upcoming major exhibition, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement, makes Seattle Met’s list of “10 Seattle Events to Catch This June.”

Colossal features the human + animals ceramic vessels of Claire Partington, whose work also has set up shop in SAM’s beloved Porcelain Room.

Watch this Art21 short video featuring Zanele Muholi and their “unplugged” studio practice of self-portraits and portraiture; Muholi’s work comes to SAM on July 10.

Local News

Stefan Milne of Seattle Met on poet Jane Wong, whose James W. Ray Distinguished Artist-exhibition at the Frye—exploring food, silence, and ghosts–opens tomorrow.

The Stranger’s Jasmyne Keimig goes up, up, up, to the 73rd floor of the Columbia Center to see The Factory’s latest show, work by 17 queer artists including Anthony White, Clyde Petersen, Markel Uriu, and more.

Lisa Edge of Real Change visits the Central District’s new Black arts space, Wa Na Wari, created by Jill Freidberg, Elisheba Johnson, Rachel Kessler, and Inye Wokoma. Also: the collective is curating the Summer at SAM kickoff.

“They always say ‘this is so great’ or ‘this is so wonderful,’” Johnson shared. “The first couple times it happened I said ‘you haven’t seen anything yet.’ They say ‘no, this is here.’ It’s just something about being able to walk into a space and know that it’s a cultural center for Black people that feels embodied as soon as you go through the entryway.”

Inter/National News

A Seattle man examined photographs he’d purchased 50 years ago at a Philadelphia secondhand store—only to discover they were by Weegee, the legendary crime photographer. Here’s other weird places art has been found.

Artnet’s Taylor Defoe continues to follow up on the recent incident at the Boston Museum of Fine Arts, in which a group of students of color were harassed by staff and other visitors.

The New York Times’ Holland Cotter looks at several shows in the city held this Pride Month in honor of the half-century Stonewall anniversary.

“For many reasons, protest is a logical direction for art right now. There is still no federal law prohibiting discrimination against L.G.B.T.Q.+ people on the basis of sexual orientation or gender identity (although some states and cities have enacted laws prohibiting it). Trans women continue to be victims of violence. The rate of new H.I.V./AIDS transmission among gay black men remains high. And the impulse within the gay mainstream to accommodate and assimilate is by now deeply ingrained. The time has come to hear Sylvia Rivera calling us out again.”

And Finally

As a person who has taken IKEA desks and Christmas trees on Seattle buses, I am here for this.

– Rachel Eggers, SAM Manager of Public Relations

Image: Saint George Slaying the Dragon, 1872; designed ca. 1862, Dante Gabriel Rossetti, British, 1828–1882, stained, painted, and leaded glass, 37 3/8 × 28 7/8 in., Lent by Birmingham Museums Trust on behalf of Birmingham City Council, Purchased, 1972M79, © Birmingham Museums Trust, Courtesy American Federation of Arts

Muse/News: A sound wagon, a light tunnel, and a change

SAM News

Seattle PI’s Zosha Millman interviews Path with Art executive director Holly Jacobson and a student artist about Hear & Now, the kinetic sound sculpture now on view at SAM that was created by Trimpin and Path with Art student artists who have lived experience of homelessness. Don’t miss June’s First Thursday performance and talkback about the work.

“It is going to require human centered solutions that will require putting the person that is having that experience at the center of the solution . . . And art is just a tremendous vehicle for that.”

Following her preview of Regina Silveira: Octopus Wrap, Crosscut’s Brangien Davis features the installation in her weekly newsletter, including quotes from her interview with the artist.

SAM’s upcoming major exhibition, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement, is included in the Seattle Times’ annual guide to all the happenings around town this summer.

Local News

“Gore-tex meets Gucci”: Crosscut’s Brangien Davis re-examines at the oft-mocked Seattle style through two fashion exhibitions, now on view at MOHAI and MoPOP.

Seattle Met’s Stefan Milne explores the future of music festivals in the region, now that Sasquatch and Upstream are done.

It’s been a minute since Charles Mudede brought his inimitable voice to the visual arts; here he is with an appreciation of James Turrell’s Light Reign at the Henry Art Gallery.

“But there is nothing supernatural or sacred here. We have the deepest feelings for light because it powers the processes that result in the wine we drink, the books we read, the park-bench kisses we enjoy all through the summer.”

Inter/National News

Jori Finkel of the New York Times reports that the Museum of Contemporary Art will soon offer free general admission; the change is made possible by a $10 million donation by the board president, Carolyn Clark Powers.

ARTnews’ Claire Selvin shares the news that the PBS NewsHour will expand its broadcast and digital arts reporting initiative, Canvas, thanks to a gift from the Knight Foundation (Arts publicists around the country react).

Lori Lightfoot, Chicago’s first African American woman, and first openly LGBTQ mayor got an artwork for her office just in time for her swearing-in; Amanda Williams’s Cadastral Shaking (Chicago v1) is about the legacies of redlining.

“Chicago is a city full of hope about shifting histories and moving toward equity, and the fact that the new mayor wanted a work of art about that says a lot,” Gass added. “We believe in the power of art to help shift perspectives, and hopefully the map in the office will help do that.”

And Finally

Get stuck on the Unicorn Tapestries.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view of Hear & Now, Seattle Art Museum, 2019, photo: Natali Wiseman.

Muse/News: Summer fun, earthy art, and a wish

SAM News

Heads-up, parents and caregivers: summer in Seattle is upon us! Here’s Elisa Murray for the Seattle Times with great ideas to keep the learning going and keep the fun going while school’s out. She includes Summer at SAM, our annual series of free programming at the Olympic Sculpture Park, held this year July 11 through August 22.

And Artdaily and Patch.com both shared the news about Regina Silveira: Octopus Wrap, the mind-bendingly cool site-specific installation at the Olympic Sculpture Park’s PACCAR Pavilion.

Local News

At this week’s event featuring Tayari Jones (she was AMAZING), Seattle Arts and Lectures announced their exciting 2019-20 lineup, including Ta-Nehisi Coates, Min Jin Lee, and Jodi Kantor & Megan Twohey.

Musical hooks and a “subtle new take on its sexual politics”: Seattle Magazine’s Gavin Borchert on “Why You Need to See Seattle Opera’s Carmen.”

Crosscut’s Brangien Davis examines the dire news about climate change and looks at how art could be a vital way to confront the challenges ahead.

“It might seem too-little-too-late to argue for sublime beauty in the face of urgent statistics about habitat loss, mass extinctions, droughts, wildfires and coastal erosion. But the introspective state that art is so adept at conjuring might be the only angle from which our modern brains can process and address the monumental facts.”

Inter/National News

Farewell to I.M. Pei, the Pritzker Prize-winning architect who passed away at the age of 102. He designed the glass pyramid entrance of the Louvre in Paris and the East Building of the National Gallery of Art in Washington, DC.

The team at Artnet has a gondola-full of reads on the Venice Biennale, including the recent news that Lithuania’s beach-opera installation and Arthur Jafa’s film “The White Album” took the event’s top prizes.

Renée Reizman for Hyperallergic on Dandelions, an installation by the anonymous Los Angeles art collective Art Department that turned a decommissioned substation into “a secret wish-processing facility.”

“The bureaucrat asked more general questions. Could the wish be categorized as altruistic or selfish? Did it pertain to romance or your career?”

And Finally

“We sat them up on chairs, they were smiling for the camera. It was the greatest day of my life.

– Rachel Eggers, SAM Manager of Public Relations

Docents Defined: Erin Bruce

SAM is now recruiting new docents to start training for the reopening of the Seattle Asian Art Museum. You don’t need to be an art historian or a teacher to apply! In fact, SAM docents have a variety of interests and experiences. Having a diverse group of docents is how we’re able to offer tours that are engaging to all visitors. Read below and find out more about docents like Erin Bruce who volunteer their time at the museum.

If you still want to learn more about being a docent? Join SAM staff and current docents at our Docent Open House on May 16 from 6–7 pm! Or, apply now to the docent program. Applications are accepted through May 31.

SAM: Tell us about yourself. Why did you decide to become a docent?

Erin Bruce: I have always been inspired by all things visual, whether it is nature, a building, a room and especially art. I studied art in college and made art whenever possible. Now I am a technical stock trader and rely on charts for my work—more visual interpretation! It was a three-year wait for a new docent class to start for me after a friend told me about SAM. The chance to participate with our museum is an honor.

What’s the best part about being a docent?

The best part is all of it: meeting energetic, generous, knowledgeable people; constant learning; leading a tour of young people and engaging them in the art and history of objects. It’s all gratifying. SAM’s collections are a wondrous gift to our city and special exhibitions join and expand experiences as well.

What is your favorite work of art to tour at the Asian Art Museum?

The Deer Scroll. Calligrapher Koetsu and painter Sotatsu collaborated to create this iconic masterpiece. Our 30 feet of the original 72 feet contains 12 poems from the Shin Kokinshu, which took four years to write. The beauty and harmony transports you to another time and place.

What’s your most memorable touring experience?

Tours were scheduled the week before Mother’s Day so I made a gallery activity “A Gift for Mom.” Given one exhibition room students got to pick an object that they would give to their Mom if they could. It revealed so many wonderful things such as what objects in our Asian art collection young people were most drawn to, what they found beautiful and why. Crafting future tours improved since I had learned some of their favorite objects. The chance to interact with young people is yet another joy and benefit of leading a school tour.

What advice do you have for people applying for the docent program?

Your interests and life experiences offer wonderful and unique perspectives. You will discover and explore the vast and layered connections of art to our lives. It is so much fun.

– Yaoyao Liu, Seattle Asian Art Museum Educator

Muse/News: First Thursday, drawing darkness, and a monument to Shirley Chisholm

SAM News

The Seattle Times includes this week’s First Thursday on their community calendar; it’ll be the last one at which to see Jeffrey Gibson: Like a Hammer! Don’t miss this exhibition.

SAM is included in this CNN Travel story on Pike Place Market and what to see and do nearby.

Local News

Fill up that calendar: The Seattle Times has collected all the best arts events launching in May.

Lisa Edge of Real Change reviews Soy yo at Vermillion, one of the many satellite shows of yəhaẃ̓; she notes “the works have an overarching theme of the care and nurture that femme and female folks provide.”

The Stranger’s Jasmyne Keimig on Bad Gateway at Bellevue Arts Museum, the first museum exhibition of graphic artist Simon Hanselmann; every single hand-painted page of his forthcoming book will be on view.

“It’s impossible to read the whole story just standing there (though do try, if you wish). But stepping back, you get a sense of the artist’s ambition and vision, his diligence in exploring the dark recesses of his visual imagination.”

Inter/National News

Jets to Dakar! Artsy takes a look inside Kehinde Wiley’s just-launched artist residency in Senegal; called Black Rock, he says it will offer artists “the opportunity to rub up against sameness and difference at once.”

Cartoonist Sarah Glidden draws her obsession with the Guggenheim’s recent Hilma af Klint exhibition, finding a kindred spirit and a dizzying array of insights and questions.

Famous for firsts, the late Shirley Chisholm marks another: the first female historical figure with a public monument in Brooklyn. The New York Times has the details on the design by Amanda Williams and Olalekan Jeyifous.

“It allows you to be enveloped in a conversation about interacting and bringing others along. This approach to a monument is that it’s an invitation to participate.”

And Finally

A journalistic project to tuck into (save room for spumoni!).

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view Jeffrey Gibson: Like a Hammer at Seattle Art Museum, 2019, photo: Jen Au

Muse/News: A little Prince, four women, and Beyoncé’s Homecoming

SAM News

Crosscut’s Brangien Davis talks with artist Troy Gua—a SAM Gallery favorite!—about his devotion to depicting Prince (you have GOT to see the closet of tiny Prince outfits). Gua’s work is now on view in Prince from Minneapolis at MoPOP and Le Petit Prince at SAM’s TASTE Café

There’s four more selections in SAM’s British Comedy Classics film series, with a gem being screened every Thursday. The Stranger continues to include the series in their round-up of “Movies Worth Watching in Seattle.” 

Local News

The Stranger’s Jasmyne Keimig on Mari Nagaoka’s solo show at The Factory, Honey, which features large-scale portraits of queer people within the artist’s community—rendered in ballpoint pen.

Terry Furchgott solo show, Intimate Interiors: Women at Home, is now on view at Harris Harvey Gallery; Real Change’s Lisa Edge talks with the artist about her work depicting women comfortable in their domestic solitude.

The Seattle Times’ Crystal Paul talks with Seattle legend Valerie Curtis-Newton on her direction of the upcoming Seattle Rep play, Nina Simone: Four Women, which imagines a meeting of the four women from Simone’s song.

“I found that in making plays, I get to make community and it can be different kinds of community. But that’s the thing ultimately, to get people to talk about important and difficult issues, by entertaining them and then provoking them.”

Inter/National News

Homecoming, the documentary directed and everything-ed by Beyoncé, hit Netflix this week; the New York Times’ Aisha Harris says the artist “puts herself directly in conversation with voices from black American history.”

The Guggenheim’s groundbreaking Hilma af Klint exhibition closes next Tuesday. Artnet’s Ben Davis reports that the show’s over 600,000 visitors has made it the museum’s most-attended exhibition of all time.

Notre-Dame Cathedral caught fire this week; here’s Steven Erlanger on the historical site’s many meanings. And donations skyrocketed for three Black churches destroyed by arson after a signal boost from Yashar Ali.

“It’s universal, Western, religious, literary and cultural, and that’s what makes it different from any other object. It’s the whole spectrum from the trivial to the transcendent, the sacred to the profane.”

And Finally

Consider the Keanu.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view of “SAM Gallery Presents: Troy Gua’s Le Petit Prince At TASTE,” photo: Natali Wiseman.

Muse/News: Punching bags wearing skirts, pet portraits, and multiple voices

SAM News

There’s only a month left to see Jeffrey Gibson: Like a Hammer! Seattle Magazine’s Gavin Borchert celebrates the exhibition’s insistence on blending all kinds of associations.

“You may notice the exquisite, painstaking craftsmanship first, or you may notice that many of the bags now look like they’re wearing skirts.”

SAM’s Chief Conservator Nicholas Dorman spoke with Hyperallergic’s Kealey Boyd for this story on the need for specialized conservators of East Asian art; SAM’s forthcoming Asian Paintings Conservation Center will treat works from its collection and serve other institutions as well.

AFAR’s Alison C. Meier calls The Allure of Matter: Material Art from China one of “10 Incredible U.S. Museum Exhibits to See This Summer.” This immersive, exciting exhibition of contemporary Chinese art debuts at LACMA this summer—and heads to SAM in 2020.

Local News

Crosscut’s Agueda Pacheco Flores on the recently debuted Nepantla Cultural Arts Gallery in White Center, which founders Jake Prendez and Judy Avitia-Gonzalez will devote to Latinx art and programs.

And another gallery is on the way out:  Pioneer Square’s Mount Analogue will shutter after its May show—but will “live on as a freewheeling print magazine.”

Our pets are obviously the best. The Stranger’s Jasmyne Keimig talks with several local pet portraitists—including Rebecca Luncan, a preparator and mountmaker at SAM!—who preserve their goodness for all time.

“It’s a funny idea that even in 2019, this medium of representation, of memory, of love is something that people still seek out. That with our smartphones and our ability to capture every aspect of our lives, people still go out of their way to commission portraits of their animal friends.”

Inter/National News

Hyperallergic’s Jasmine Weber on the Musée d’Orsay’s Black Models: from Géricault to Matisse, based on Denise Murrell’s thesis on black models in French art.

Artnet has the stunning images from a newly discovered tomb in the town of Saqqara, south of Cairo; more than 4,000 years old, it’s remarkably well preserved.

The Chicago Tribune’s Steve Johnson reports on the postponement of a major exhibition on Native pottery at the Art Institute of Chicago, due to concerns over a lack of Indigenous perspectives.

“The principal thing that we have not accomplished is to have an aligned indigenous perspective, scholarly and curatorial, with the project,” he said. “And I think that ultimately for us has been the crucial realization that our ability to reflect back what we were learning needed to be done in multiple voices, not just our voice.”

And Finally

I would like to see it: An interview with the first full-time art therapist on staff at a North American museum.

– Rachel Eggers, SAM Manager of Public Relations

Image: IF I RULED THE WORLD, 2018, Jeffrey Gibson, Mississippi Band of Choctaw Indians/Cherokee, b. 1972, repurposed punching bag, acrylic felt, glass beads, metal jingles, artificial sinew, and nylon fringe, 79 x 15 x 15 in., Seattle Art Museum, Modern Art Acquisition Fund; by exchange Eugene Fuller Memorial Collection; American Academy of Arts and Sciences, Childe Hassam Fund; Sidney and Anne Gerber; Jan and Gardner Cowles; David Hoberman; Gordon Woodside; Ed Rossbach; Pat Klein and Stephen Wirtz Gallery; Gary Wiggs; Jerome D. Whalen; Karin Webster; Virginia Zabriskie; Dinah James and the Diane Gilson Gallery; Mr. and Mrs. Frederick Weyerhaeuser Davis; Norman and Amelia Davis Collection; Mrs. Will Otto Bell; Puget Sound Group of Northwest Painters Award in memory of Eustace P. Ziegler, 1969, 2018.17, © Jeffrey Gibson, photo: Peter Mauney.

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