IKAT, not IKEA, is now on view at the Seattle Art Museum. The surprising similarity in appearance of these two words came up a few months ago when fonts for the exhibition’s marketing campaign creative were reviewed. But how different they actually are is why it’s worth seeing this exhibition.
Walking through IKEA is the ultimate contemporary shopping experience. It provides everything you need for an entire home to be outfitted—except the clothes—and it is all made by machines in a swift industrial manufacturing practice that strives to be as affordable as possible. Its aesthetic does rely on designers who add individual creativity to the company, but the handmade is missing.
Walking into galleries of Ikat: A World of Compelling Clothis a chance to take a break from a world of manufactured reality and be surrounded by the intimate sense of cloth exquisitely made for very distinct purposes. The exhibition was curated by Pam McClusky, SAM Oliver E. and Pamela F. Cobb Curator of African Art, and can only be seen at SAM.
However, as a first step, you need to understand what ikat is. Given how few people weave themselves, ikat might be considered a strange term from the past that is hard to connect with. To help recognize the thought and dedication that ikat requires, the exhibition features an entire gallery designed as a loom to walk through by contemporary artists Roland and Chimani Ricketts. From this immersive moment, you’ll embark on a world tour of ikat cloths, sometimes being greeted by garments, although most are of minimal tailoring, honoring the integrity of the fabric as it comes off the loom.
Textiles from Japan include futonji (bed coverings) and kimonos for adults and children as well as the Noh theatre. The Japanese cloths have a similar palette to those from Africa, indigo being prevalent, but the designs from numerous regions of Africa on view are distinct, with variegated stripes and medallions featured on cloths and dramatic robes. Indian and Southeast Asian ikats introduce cloths that are relied upon for ritual observations. Cloths from Uzbekistan are filled with flowing arabesques and exuberant designs in brilliant colors, including a robe of silk velvet which seems to come from a textile paradise. European ikats from 17th- and 18th-century France serve as a reminder that hand woven traditions faded away with the coming Industrial Revolution. And American ikats will include ponchos from the south and recent works from Santa Fe.
As we expect the urge to touch and feel cloth to emerge, we’ve created a cart just outside of the galleries’ entrance with threads and samples of ikats available for handling. And SAM Shop has set up adjacent to the galleries to showcase cloth made by artists who use natural dyes and woven processes that have a sustainable impact on our world. This spring, be immersed in the global reach and powerful beauty of this exceptional art form.
This article first appeared in the February through May 2023 edition of SAM Magazine and has been edited for our online readers. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks!
“Our approach is based on direct experience—a way of development outward from an inner core; something of the same process that nature uses in the creation of a tree.”
– George Nakashima
This Saturday, March 11, the Gardner Center for Asian Art and Ideas at the Seattle Asian Art Museum will welcome architect and woodworker Mira Nakashima as part of the 2022–2023 Saturday University Lecture Series. Mira, daughter of celebrated American architect, master woodworkers, and thinker George Nakashima, will discuss her father’s influence and legacy as the founding figure of the 20th century American studio art movement.
As the creative director of George Nakashima Woodworkers, Mira continues her father’s legacy by integrating his deep appreciation and reverence of nature with her own warmth, unmatchable prowess, and ingenuity in incorporating contemporary sensibility into his philosophy. In her upcoming talk, Mira will explore the development of her father’s lesser known spiritual spaces and articulate the ways in which they emphasize his philosophical and personal formation as an architect.
In anticipation of this fascinating lecture, Haley Ha, SAM Manager of Public Engagement at the Seattle Asian Art Museum, caught up with Mira to discuss what visitors can expect to see, learn, and experience this coming Saturday.
The Nakashima Arts Building in New Hope, PA.
HALEY HA: You are the current creative director of Nakashima Woodworkers. Can you tell us a little bit about your days as the creative director?
MIRA NAKASHIMA: First of all, ‘creative director’ is a term I borrowed from a friend of mine who heads a chamber music group, as I didn’t know what else to call myself. When I first started in 1970, I was the general ‘gopher,’ doing everything from typing up orders to driving the truck to raking leaves, etc. As time progressed, I learned how to make the shop drawings, got to work in the shop making small objects, and accompanied my father to the sawmill. Following my father’s stroke, I began supervising the work in the shop, and after he died, I had to be responsible for conceptual as well as working drawings. There was always something to be done maintaining the buildings, grounds, and machinery, so that became a part of my job too. And after my mother died, someone had to keep an eye on the accounting. As it was a bit overwhelming for one person to do it all effectively, we hired both a manager and an assistant designer which made life more complicated, but better. As ‘creative director,’ I oversee the creation of all the furniture made here, but I am just one of the many people devoted to preserving our history and craft tradition. I usually have a hand in selecting and pricing wood for every project, create the conceptual and sometimes shop drawings, oversee the final cut lines, base and butterfly placement, and sign each piece before it leaves the shop.
Mira Nakashima at work.
HH: Your father is considered one of the most celebrated woodworkers and architects of the 20th century in the US, Japan, and across the world. As a woodworker and architect in your own right, what do you consider to be the challenges and blessings of carrying out Nakashima’s legacy today?
MN: My father studied architecture at Fontainebleau, France, worked in the office of Antonin Raymond in Tokyo from 1934-38, and was sent to Pondicherry, India in 1936 to build a reinforced concrete building, so he had deep roots in many cultures and countries of the world.
His furniture practice grew in the aftermath of World War II, embracing and manifesting Japanese aesthetic ideals during a time when they were not socially accepted and slowly making his mark along both US coasts. In 1963, my parents sent me to Tokyo to attend Waseda University where I earned a Masters in Architecture. My father went on to join the Minguren group and earned the Third Order of the Sacred Treasure from the Emperor of Japan in recognition of his cross-cultural activities in 1983. After his passing in 1990, his work became ‘vintage’—a part of the renewed interest in 20th-century design worldwide. Auction houses began selling his work both locally and internationally, leading his fame to spread.
It has been a challenge to live up to my father’s legacy and to continue the work as he hoped we would. With his book The Soul of a Tree, originally published in 1981, generations of woodworkers have been inspired to take up the practice, and indeed, to copy his designs. We strive to preserve his original methodology and mindset by working from the pile of wood he collected during his lifetime and hiring younger craftsmen and designers to learn the Nakashima way. Fortunately, we have been able to keep Nakashima alive and well, and we will do our best to keep it going beyond my lifetime.
The Nakashima family.
HH: Your family was forcefully moved alongside over 12,000 incarcerated Japanese Americans to the Minidoka Camp in Idaho when the war broke out. Could you tell us about how this period impacted your father, his work, and your family?
MN: I was a baby when we were incarcerated. My mother was traumatized by the relocation while my father made friends with a highly skilled Japanese carpenter named Gentaro Hikogawa. Gentaro taught my father many that he would not have otherwise learned in developing his craft. Fortunately, in 1943, my father’s employer in Tokyo, Antonin Raymond, had moved to Bucks County and offered to sponsor my father to work on his farm so we did not stay in the camp as long as our other relatives. While in Idaho, my father’s friend, artist Morris Graves, carefully kept our meager belongings in Seattle and returned them all to us when we moved to Pennsylvania to start our new life. My father prophetically called the move a “New Hope” and found many artists in the area to call his friends. He called the incarceration “stupid” but said that eventually, “the wounds healed over and left no scars.”
Golconde, Pondicherry, India, Nakashima Foundation for Peace.
HH: As we know, your father’s sense of spirituality deeply influenced his practice. You’ve previously been quoted as saying that for him, work “was a spiritual calling, a form of prayer.” Can you tell us about a bit more about the relationship between his beliefs and practices and explain a bit more of what you’ll be focusing on in your talk this Saturday?
MN: When my father was working on the reinforced concrete building for the Sri Aurobindo Ashram in India, he learned that physical labor was “karma yoga,” no less a yoga than meditating, praying or chanting all day. There, he and the other workers devoted their time to creating a hitherto unimagined place of beauty and peace. When he visited France’s Chartres Cathedral in the 1930s, not only was it an astounding space because of its incredible engineering, beautiful sculpture, and stained-glass windows, but also because it was built over several centuries by people from all walks of life whose only intent was to create a sacred space for the glory of God. In Seattle, my father converted to Catholicism and developed a deep kinship with the Benedictine monks and their monasteries. He volunteered to assist them in not only designing, but helping construct their remote chapels by gathering materials, building technology, and hiring local craftsmen.
George Nakashima with his daughter Mira.
HH: While he considered his work as a spiritual calling, his reverence for materials was remarkable yet practical. For example, could you tell us how kodama—the Japanese belief of offering a second life to a tree—became a central belief to his practice and how it bore the iconic aesthetic of Nakashima Woodwork?’
MN: I do not think the concept of ‘offering a second life to a tree’ is particularly Japanese, but in Shinto, Druid, Native American, and other so-called ‘primitive’ belief systems, inanimate objects like trees, stones, and water are respected not merely as ‘dead’ objects, but as living examples of the Creator. Perhaps my father’s connection to trees was fostered by his early days as a boy scout where he spent long weekends hiking throughout the Pacific Northwest and sleeping amongst the trees. In Japan, the forces and forms of nature are respected, honored, and integrated into everyday life. So, it is perhaps this practice which found voice in the Nakashima aesthetic.
HH: The Nakashima estate in Pennsylvania became a National Historic Landmark in 2014. I’m envious of your beautiful home and curious to know what it is like to live in a space with such powerful intention, art, and legacy?
MN: To me, this is simply the home where I grew up and have worked all of my life. I didn’t realize it was anything special until I returned from my first trip to Japan in 1966, and not until I wrote my book in 2003 that it became clear how groundbreakingly bold the architecture was for its time. It is indeed a responsibility to maintain the property, and to allow limited access so that it does not suffer from too much traffic, while encouraging and educating people about its history. I do not live on the original property, but in a house across the road that my father built for me in 1970, so it is an easy commute but also provides some distance to the place I now call home.
HH: In our ongoing Saturday University Lecture Series, we’ve been exploring the different notions of sacredness within built environments amid our ongoing climate crisis. There seems to be a sense of reverence, deeper recognition, and ecological thinking that is rooted in your father’s practice. Would you agree?
MN: My father built each of his buildings with a sense of economy and ecology that was way ahead of his time. From working in Japan, he instinctively knew the principles of kimon—in Chinese, feng shui—including the auspicious positioning of buildings and usage of the rooms according to its geography, path of the sun, seasons, and source of water on the site. He selected each site because of its south-facing slope and built most of the buildings along the brow of a hill, intentionally leaving an open slope and field in the center. All of his buildings have large expanses of glass to the south, and their carefully proportioned roofs overhang to keep the rooms cool with cross-ventilation in the summer and warm in the winter with solar gain.
George Nakashima’s final project: the Reception House.
On the Pool House, built in 1960, he installed a series of water pipes along the rooftop as a way to heat the shower water by passive solar energy when no one else was even thinking of that. His last building, the Reception House, built in 1975 during the first oil crisis, has a plenum and fan system behind its Franklin stove-like fireplace to heat the entire house. There is also a cook-top on the fireplace hood and an oven compartment in the wall of the fireplace like the old Bucks County farmhouses. There is even a large sunken Japanese bath with water heated by a wood-burning boiler imported from Japan. We are currently working with the University of Pennsylvania to create an overall campus plan which will minimize our dependence on fossil fuels in the future by installing both passive solar and geothermal energy sources, and of course, increasing insulation and minimizing air infiltration without destroying the original design concepts. It’s bound to be an exciting challenge!
HH: Lastly, what kind of legacy would you like to leave behind to the next generations of woodworkers?
MN: Harvest materials sustainably and replant as many trees as possible. Know and respect the woods local to your area and use them whenever possible. Learn to do honest joinery yourself. Do not imitate forms, but create your own. Remember that less is more; don’t complicate things just to be different.
– Haley Ha, SAM Manager of Public Engagement at the Asian Art Museum
Most visitors to Seattle artist Joseph Steininger’s Pioneer Square studio are mesmerized by his walls of spray paint. On one wall, the full cans are sorted by tone and color in an organized grid system. On the opposite wall, empty cans fill open spaces, surrounding completed works. Like Joseph’s artworks, the studio’s colors are vibrant and draw attention.
Steininger’s artistic process begin with a photograph. All of his paintings originate from photos he has taken in cities around the world. Many capture landscapes in Seattle and New York City, but others include scenes from cities such as London, Florence, and Portland. For his next big trip, Joseph plans to travel to and photograph Tokyo, Japan.
Once he has decided on a photograph, Steininger digitally designs stencils based on his selection. Each artwork typically requires 14–24 stencils. He digitally color matches the stencils, prints them, and cuts them by hand with an exacto knife. Cutting the stencils is time intensive, taking up an approximate 95% of time it takes to complete a single canvas. He spray paints the stencils on panels, one layer at a time, to build an image with depth and intricate detail.
Steininger’s work is inspired by street art culture and his background in printmaking. He began his art career as a relief printmaker and implements these methods across his artworks. His art often shows urban scenes, including graffiti, infrastructure like bridges and water towers, and rail yards or train stations. Up next for the artist? Commissions for the Washington State Convention Center and Avenue 55. Plus, he’ll be participating in the celebration of SAM Gallery’s 50th Anniversary in November 2023.
Check out his artwork in person or online now at SAM Gallery and discover more featured gallery art and artists by following @AtSAMGallery on Instagram.
In honor of Black History Month, Object of the Week will feature artworks from SAM’s collection that explore Black art and artists. Black lives matter every day of the year, but this month is a particular opportunity to celebrate the accomplishments and legacies of Black leaders in civic and cultural life. Exploring and reflecting on the past and present of Black lives is one important way to continue to imagine better futures. Here’s the final of four reflections from four different SAM voices on one artwork and what it means to them.
Black History Month is the perfect time to envision a new world, one that is governed by empathy, equity, and justice.
Through her multi-year project, ChimaTEK: Virtual Chimeric Space (2015–16), New York-based artist Saya Woolfalk invites viewers to imagine a new reality. When you step into her virtual utopia, it invokes the spirit of the Empathics, a fictional race of women who can alter their genetic makeup and fuse with plants. Their world centers around the divine feminine, and their superpower is the ability to unite with the plant and animal kingdoms.
Woolfalk’s immersive installation was acquired by the museum in 2017 and is now on view as part of Lessons from The Institute of Empathy. There, her dynamic work is in dialogue with works from the museum’s African art collection, along with thought-provoking “empathy lessons” from the Empathics to guide your experience. Her aesthetic produces a resonance that stirs the soul. The choice of African symbols and rich colors, the incorporation of digital media, and the inclusion of sculptures that resemble spiritual totems create a hypnotic experience that transports audiences into an imaginative world. Deific figures speak to you through the movement of the images in the backdrop, evoking a sense of wonder and awe. The result is that through the exhibition, you also fuse with empathy and sense the etheric euphoria that comes from authentic connection.
Today, the immersive world portrayed in ChimaTEK is more relevant than ever. Society, from farmers to financiers, is being forced to examine business as usual. For example, the concept of regeneration, from regenerative agriculture to regenerative capital, exposes the harmful impacts of creating monocultures, being extractive, and being reductionist (on the soil and on the human soul) and offers a powerful alternative. These new approaches are proving that mimicking the ways of nature—embracing diversity, interdependence, and cooperation—are reversing the climate crisis, restoring plant and animal health, and providing the conditions for abundance, thriving, and flourishing in our businesses, institutions, and relationships.
Lessons from Woolfalk’s Institute of Empathy, like regenerative models, remind us that humanity is a part of nature, not apart from nature. That the result of a true union with nature can produce a sea change: a society where everyone resonates with the frequency of empathy. The Institute reminds us that nature’s language is love.
As Black History Month concludes and we transition from winter to spring, let’s reflect on our collective future and imagine a world governed by indigeneity (the fact of originating or occurring naturally in a particular place). Let’s respond to Woolfalk’s call to action to create a future that is inclusive, just, abundant, and flourishing. Let’s fuse with nature and shape our world, empathetically.
– Falona Joy, President of SNP Strategies, Inc. and SAM Trustee
Photo: Natali Wiseman.
Celebrate Black History Month in Seattle with these suggested events and additional resources.
In honor of Black History Month, Object of the Week will feature artworks from SAM’s collection that explore Black art and artists. Black lives matter every day of the year, but this month is a particular opportunity to celebrate the accomplishments and legacies of Black leaders in civic and cultural life. Exploring and reflecting on the past and present of Black lives is one important way to continue to imagine better futures. Here’s the third of four reflections from four different SAM voices on one artwork and what it means to them.
Twenty eight days a year isn’t long enough to commemorate hundreds of years of Black history that has shaped the world we live in. The contributions to the United States by Black Americans is everlasting; even the White House was built by Black Americans, free and enslaved. Every February, American institutions pay respects to the brave Black Americans for fighting an almost impossible battle against white supremacy to advocate for the value of Black life. Celebrated are the many contributions that have been made by Black culture: Dr. Martin Luther King, Jr., jazz music, the invention of peanut butter, and more. Many Black Americans find it is hard not to feel like these recycled acts aren’t performative when ushered right back into that impossible battle on March 1. This anxiety and dissociation is captured so authentically in a short film currently on view in SAM’s galleries through August 6, Howard L. “GATO” Mitchell’s Forgive Us Our Debts (2018).
Based in Portland, Oregon, GATO is an award-winning American director. GATO showcases his unique point of view as an Afro-Panamanian along with the tangible and intangible intricacies of his identity in his artwork. His universal theme is to depict what isn’t seen. GATO’s multi-disciplinary talents in painting and filmmaking make his work a full sensory experience. This 15-minute narrative film is about a young Black 13-year-old boy named Trey, who is struggling to make sense of the hate he was born into. Riddled with stress and anxiety, the almost disorienting video truly captures the chaos of being a Black person in America living in poverty. Between tender family dynamics and unsettling visuals, Mitchell gives viewers a sense of the helplessness that is left behind from the impact of racism.
Every day, Black people fight to live peacefully and prosper. As a teenager, Trey is learning how to become a man from his father, who teaches him how to be tough through the power of his fist. With generational trauma instead of generational wealth as a legacy, Trey’s coming of age is complex. A good education, livable income, providing for your family, and pursuing your dreams: none of these are presented options as for Trey. Being a young teen, it’s heartbreaking for Trey to accept these harsh truths, when he would likely prefer to live as the average American teen as portrayed in the media: discovering themselves, having fun, and getting a good education.
Society is telling Trey that he’ll always be seen as a criminal without resources or opportunities for a better life. He is forced to carry burdens passed down hundreds of years that cause him to grow up disadvantaged and affect his mental health negatively. Yet he also has to reconcile his love for his family and the hope they instill in him to live better than them. The familial responsibility along with the current and constant visualization of Black boys and men being murdered by police doesn’t allow Trey to stay in the naiveté of adolescence. There isn’t much difference from Trey and Trayvon Martin, and the film makes that clear in the shot of an officer with a “G. Zimmerman” name tag.
Racial tensions and inflation have increased tremendously over the past few years. With so many outlets and resources of information, America is more divided than ever on how to improve the quality of life for its citizens. Black Americans, and especially Black Americans living in poverty, are still having to overcome institutional racism while overt racism is on the rise. Many white Americans will denounce racism and claim allyship. Having liberal beliefs, online activism, and celebrating Black History Month, while commendable, isn’t enough. Young Black children similar to Trey continuously live in that perplexing reality regardless if people decide to vote blue or red. What can be done to help Black citizens all year?
Forgive Us Our Debts can be seen as a call to action for non-Black Americans to get involved in Black disenfranchised communities and organizations, whether it be volunteering, teaching a free class, or helping a local community center. It’s key to think about what Black history means and what can be done all twelve months of the year. Black Americans have to think about it every day, whether they want to or not.
– Karly Norment Meneses, SAM Marketing Coordinator
Photos: Forgive Us Our Debts, 2018, Howard L. Gato Mitchell, American, digital video, 15 minutes, Courtesy of the artist.
Celebrate Black History Month in Seattle with these suggested events and additional resources.
Happy Valentine’s Day! For the last seven days, we’ve been highlighting expressions of familial, romantic, and platonic love at SAM during our #SAMWeekOfLove on our Instagram. As part of the series, we shared photos and stories from four couples for whom SAM has played a significant role in their relationship. To give you an extra dose of love this holiday, we’ve rounded up all four of the love stories we previously shared on our social media below. Scroll below to learn how SAM played Cupid in all of these relationships!
“We were searching for a venue that had both an indoor and outdoor space and was both modern and simple. The sculpture park fit that search perfectly! I am a wedding calligrapher and event designer by trade, so working with the different areas of the venue was so much fun. The spaciousness of the park was also great—from our wedding album it looks like we went to several locations, but they’re all taken from different areas of the park!” – Diane
“I had my wedding at the Seattle Asian Art Museum. From childhood to adulthood, the museum and its camels will forever hold a special place in my heart. Pictured are me and my bridesmaids: my two sisters, and my two best friends.” – Tiffany
This photo and story was shared to us by SAM’s very own Director of Membership and Annual Giving Tiffany Tessada. Tiffany has been a part of the SAM family for over 24 years and our membership program wouldn’t be what it is today without her tireless work and dedication. Considering everything she’s done for SAM, we’re honored to have been a part of her love story!
Ciera & John August 7, 2021 Olympic Sculpture Park
With most of their guests coming from out of state, Ciera and John wanted a venue that celebrates Seattle and the life they’ve built together in the city. With views of their home in West Seattle, the Olympic Mountain Range where they ski and backpack, and the iconic Space Needle, the park served as the perfect location to host their nuptials. Their most cherished wedding memory? Read it in their own words below:
“Our favorite memory was having the opportunity to sneak away to take quiet sunset photos around the park while our guests enjoyed cocktail hour overlooking the Puget Sound.” – Ciera
Tina & Greg October 14, 1989 Seattle Asian Art Museum
A few weeks before their wedding, Tina and Greg dressed in their most glamorous and practical attire—her, red Converse hightops and him, green bowling shoes and a Puyallup Fair hat—and visited several Seattle locations that had a special meaning to them. With their photographer Shel Izen in tow, they captured fun and scenic moments across the city, including at the Seattle Asian Art Museum (then just called the Seattle Art Museum) where they had spent one of their first dates as a couple.
– Lily Hansen, SAM Marketing Content Creator
Photos: Sam and Sola Lee. Courtesy Tiffany Tessada. Joe Tobiason. Courtesy Tina Koyama.
In honor of Black History Month, Object of the Week will feature artworks from SAM’s collection that explore Black art and artists. Black lives matter every day of the year, but this month is a particular opportunity to celebrate the accomplishments and legacies of Black leaders in civic and cultural life. Exploring and reflecting on the past and present of Black lives is one important way to continue to imagine better futures. Here’s the second of four reflections from four different SAM voices on one artwork and what it means to them.
There are images that have become synonymous with the pandemic years: boarded shop windows, deserted streets, protests, and tear gas, to name a few. Seattle was a center for it all, and there remain some remnants of that turbulent first year of the pandemic around the city. Still, we possess a collective anxiety. We have bruises on our hearts and souls from the images of violence and injustice; The feeling of powerlessness that came from being trapped inside and glued to our screens. It wasn’t safe to go out, but inside was a cycle of mania.
These feelings are aggressively and powerfully rendered in Untitled Anxious Bruise Drawing (2021) by Chicago-based artist Rashid Johnson (b. 1977). He portrays the anguish, frantic energy, and damage of the upheavals of 2020 with sustained, forceful brush strokes until the paint thins to a faint wisp. A series of boxes with confused, startled eyes. Mouths blurred in motion. Oscillating from dense to light, black and blue. The unraveling chaos is contained by rough edges, where strokes of paint find their way out of bounds. With the same curatorial intent of modern media, we’re viewing a selection of the multitude of blue cells. All wavering, unnerved, and anxious. There’s more beyond what we see; truths we have yet to acknowledge.
The unjust experiences of Black people in America continues to be a bruise on the national consciousness. It’s often difficult to talk about or relate to, although art can provide a conduit. With Untitled Anxious Bruise Drawing, there’s a possibility of relation, of realization, and even relearning. Johnson boldly carries the torch proclaiming that the arts have a role to play in confronting the past for a better future.
Acquired for the museum’s collection in 2022, Untitled Anxious Bruise Drawing is now on view as part of Reverberations: Contemporary Art and Modern Classics, which explores the idea of artistic exchange across generations.
– Jason Nail, SAM Visitor Experience Lead
Photo: Scott Leen.
Celebrate Black History Month in Seattle with these suggested events and additional resources.
In honor of Black History Month, Object of the Week will feature artworks from SAM’s collection that explore Black art and artists. Black lives matter every day of the year, but this month is a particular opportunity to celebrate the accomplishments and legacies of Black leaders in civic and cultural life. Exploring and reflecting on the past and present of Black lives is one important way to continue to imagine better futures. Here’s the first of four reflections from four different SAM voices on one artwork and what it means to them.
In January of 2016, I began working at the Seattle Art Museum. It was like going to a new school—I felt ready with an open heart, looking to shake up my norm, help me step out of my comfort zone, and provide me with something that I didn’t know how to express with words quite yet. After 16 years of working at the University of Washington, I left the stability of what had become a predictable world and delved right in. Part of this terrifying new world that I was immediately immersed in included giving a public tour for Free First Thursday, talking about artworks in our collection that I loved and connecting them to my life. My background was in communications and American Ethnic Studies, and so art was something I knew and loved, but not from an academic perspective. It seemed like everyone at SAM knew so much more than me, but I have always tried to lead with authenticity and leaned on that to guide me.
Priya Frank leading a My Favorite Things tour during Free First Thursday at SAM in 2016.
The artwork I knew I wanted to end the tour with that night was my favorite in our collection: Hair Portrait #20by Mickalene Thomas. The beautiful Swarovski crystals, the powerful face depicted over and over again, the magnitude of its size… all of those things drew me. I wore a sequined top so I could match. The piece stood out. It was so much different from everything else I saw at SAM and so different from all the neighboring art in that gallery. It felt… like me at that time. I felt so out of place, with such a different perspective and aesthetic from everyone else. But I kept remembering that that was why I was hired: to beat to my own drum and do things the way I do them. Hair Portrait #20 brought me comfort, and it reminded me that it was okay to do things differently, to stand out unapologetically and shine brightly, as a beacon of hope, light, and realness.
Thomas’s work continued to come back to me over the years, reminding me of the valuable lesson that MORE is MORE and not to be less in order to make others more comfortable. In 2018, the museum presented Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, exploring the work of these three pivotal Black artists. By then I was feeling more comfortable at SAM, and it helped that I had my colleague David Rue, who had become my SAM soulmate. He and I started working at SAM the very same day, and we had a similar love for all things bright, extravagant, beautiful, and authentic. David helped me feel so much more comfortable in my skin, and when Figuring History opened, it meant so much to both of us. We brought everyone we knew and created programming and partnerships that are still talked about in our community today. We reveled in the glory of Thomas’s muse, Racquel Chevremont, and dreamed of what it might be like to be someone’s muse (David has since pretty much become EVERYONE’s muse so there’s that!).
Priya Frank and David Rue pose in Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas at SAM (2018). Photo: Natali Wiseman.
After years of working from home, I recently made the commitment to spend more time in SAM’s galleries in order to inspire my own creative practice, which is a big focus for me this year. And lo and behold, I ran into an old friend: Hair Portrait #20, back on view again as part of a reinstallation in the modern and contemporary galleries called Reverberations. Immediately, I broke out into the biggest smile, thinking of all of the times that that piece made David and I feel like we were home. There she was: a continued beacon of hope. These last seven years have been the best of my life, and I continue to live unapologetically, unwilling to take shit, and more willing to shine bright like the Swarovski crystals that Thomas interweaves into this room-filling artwork. Getting to see a whole new generation of folx also experience the piece for the first time is the greatest joy. A few weeks ago, the UW Sisterhood Initiative came for a visit, and there was a gorgeous impromptu photoshoot in front of that pivotal piece. The mission of SAM is to connect art to life, and this piece provides exactly that: an opportunity to feel seen, and not just tolerated but acknowledged, celebrated, and seen. Unapologetically.
Same top, different era: Priya in 2023 with the same sequined tank from the 2016 My Favorite Things tour, displaying her own body art creation.
– Priya Frank, SAM Director of Equity, Diversity, & Inclusion
Photo: Jen Au.
Celebrate Black History Month in Seattle with these suggested events and additional resources.
SAM Photo Club is almost over! With Dawoud Bey & Carrie Mae Weems: In Dialogueclosing at SAM this Sunday, January 22, we are accepting the final photo submissions to the third defining theme and motif of these legendary photographers’ artistic careers: family & community.
To incentivize you to get your last-minute submissions in and join SAM Photo Club, we’re featuring some of the family & community photos taken by SAM’s two staff photographers: Alborz Kamalizad and Chloe Collyer. Outside of photographing all SAM events, exhibitions, installations, programs, and more, Alborz and Chloe are also working professionals. Browse through a few photos taken by Alborz of their family and community below, then discover which of Carrie Mae Weems’s photographs on view in SAM’s exhibition resonates with him.
Family & Community, 2021–2022
My family emigrated from Iran when I was three years old. This made me young enough to easily assimilate into American culture. But even though the bulk of my cultural connections are American, there is Iranian culture swirling inside me as well — culture that is usually easy to ignore while walking through an American life.
With a project I’m calling Rebuilding Babel I have friends engage with artifacts of my familial culture. These objects, which are mostly meaningless to them, render the images inaccurate to who they are. Instead, these photos of friends portray a relationship between my own American and Iranian selves.
The current humanitarian crisis in Iran, as people fight for freedom and equality, has underscored both my connection to and separation from the culture I was born in.
Untitled (Woman with Daughter and Children), Carrie Mae Weems, 1990
Walking into the space where The Kitchen Table series is displayed at the Seattle Art Museum feels like walking into the middle of someone’s psyche. It’s intimate. It’s a real testament to the need to experience photography in person. Moving your body from image to image while they transport you through time cannot be experienced on a screen.
Alborz Kamalizad (he/him) is a visual artist who moves between photography, animation, documentary filmmaking, and illustration. He was born in Iran, raised in the US, and currently works as a staff photographer for the Seattle Art Museum. As a visual journalist and photographer, his work has been featured by Los Angeles’s NPR affiliate, Mother Jones Magazine, the United Nations, The Nature Conservancy, MasterClass, and the Getty.
Participate in #SAMPhotoClub by sharing your own family & community on Instagram and tagging us through Friday, January 20. Once the window for submissions closes, we’ll share a few of the photographs we’ve been tagged in on our Instagram Stories.
– Lily Hansen, SAM Marketing Content Creator
Photo Credit: Untitled (Woman with Daughter and Children), Carrie Mae Weems, American, born 1953. Untitled (Woman and daughter with children). Kitchen Table Series. Gelatin silver print. 1990. 40 x 40 inches. Courtesy of the Artist and Jack Shainman Gallery, New York.
With his first solo SAM exhibition, Limited Liability, coming to a close in a few short weeks, 28-year old Seattle artist Anthony White woke up bright and early one December morning to meet Susan Brotman Deputy Director for Art José Carlos Diaz in the galleries of his exhibition before the museum was open to the public. Sitting around the retro lunchroom table—the centerpiece of SAM’s 2021 Betty Bowen Award winner’s gallery—the two spoke about the response he’s received to Limited Liability, the meticulousness of his practice, queer representation in art, what’s next for Seattle’s rising star, and what it means to artistically render this moment in time.
Read the full interview below and experience Anthony White: Limited Liability at SAM’s downtown location before it closes Sunday, January 29.
José Carlos Diaz: I want to start off here by thanking you and SAM curators Catharina Manchanda and Carrie Dedon for putting this exhibition together. Limited Liability was the second exhibition that opened after I joined SAM in July 2022, and it’s been a joy getting to know you and to see visitors interact with your paintings. So, my first question is: What has been the response to this exhibition. What have you observed? What have you heard visitors say while seeing your artwork at SAM?
Anthony White: Overall, the response has been great. I think people are excited to see work like mine in an established institution. My work is vibrant and modern, and I think it can be refreshing to see in a museum gallery. It’s always fun to see people stumble on artwork they weren’t really expecting to see at a museum. I will say, everyone is infatuated with my age. I didn’t expect I’d receive so many comments about that.
JCD: Did they think you were older?
AW: Yeah. Generally, people are surprised that someone my age is able to do this.
JCD: It’s definitely incredible that someone your age has a solo exhibition at a major regional museum.
AW: Totally, but it’s still incredibly surprising to me. And a lot of people did reach out to say that it was nice to have something that they could relate to. There were a lot of people that would identify with certain symbols and objects that came out of very specific time periods. It’s really cool to see how my artwork connects with people, even if in the smallest degrees.
JCD: That’s great to hear! Many people may not yet know this, but SAM actually acquired one of your works from this exhibition. The artwork that the curatorial team and the board approved is UNTIL THE END OF TIME (2022). It was really important to our team to acquire this particular artwork because it really reflects the diversity within SAM’s collections, but it’s also a representation of an artist who is living and working in Seattle. But, as a curator myself, I was curious how you’d like to see your artwork displayed and used in the future when you visit SAM? Maybe in a different context? With similar or different artworks? Is this something you’ve thought about?
AW: First, I want to say how excited and honored I am to have my artwork in SAM’s collection. It’s an incredible way to be connected to this institution for a long time. But I do often find myself thinking about what happens to artworks that end up in collections. I think most institutions either keep their works either independently displayed somewhere or they pull it into a group installation to give it additional context. My hope is that UNTIL THE END OF TIME is shown alongside other artworks at SAM that tell the stories of time.
JCD: Would you be interested in seeing it integrated into the European galleries, as having a conversation or even challenging the Old Masters?
AW: Certainly.
JCD: I think that’d be a really fun conversation to have! Many of the European artworks in SAM’s collection capture a specific moment or time in history. With your artwork alongside these other pieces, I think they’d be talking about the same exact things but across vastly different time periods. I love it!
AW: I think there are endless opportunities for my artwork to interact with historic artworks throughout SAM’s collection. It’s fascinating to see how our interpretations of everyday life have changed over time.
JCD: Plus, it’s the first artwork in the collection featuring Kim Kardashian.
AW: She should be honored. Someone tell her!
JCD: I was so thrilled that you’ve gotten so much press from this exhibition. But what’s made me the most proud is seeing all of the national press you and SAM have received about the work that’s being done in Seattle in showcasing LGBTQ+ art.
That being said, the work I find myself gravitating toward the most in Limited Liability is JOYRIDE (2022). Because you have such a deep visual archive, I was blown away when you revealed—at least to me—that the format of this painting is based on Picasso’s Still Life With the Caned Chair (1912), which was a really groundbreaking moment for Picasso. But then, looking deeper at your painting, this idea of a joyride, it has such a coded language specifically around queerness and blackness; It’s almost like a special language. Walking up to this painting—even as someone who works at the museum and has seen it many times—it’s clear that there’s so much joy in it. So, I wanted to ask you to elaborate on your use of coded or visual languages throughout your art.
AW: Yeah, I think JOYRIDE offers people a way of getting to know me, my practice, and my experiences that my other works may not do so much. There is a slightly discreet symbolism and language that I’m using in this work and that has led to the invention of an entirely new way of speaking within my practice, I think.
I don’t like to spoon-feed people and give them only one way to see, think, and interpret my work. For example, JOYRIDE includes a sticker that says ‘cruisin’ that can be interpreted in two totally different ways. You could either think about it within the context of hard culture and vehicle cruising, or think about it as speaking toward a homoerotic experience, activity, or participatory event. So, the decision to interpret pieces and little details like those throughout my work is ultimately up to the viewer.
JCD: I can definitely see the nature of the symbolism you’re talking about. I think there’s also this playfulness with the inclusion of the Lisa Frank stickers and the young anime woman in red. And, in looking at all the works in this gallery, I think you once told me that you make one self portrait per year. Is that true?
AW: It is true.
JCD: Can you talk about the origins of this tradition? How is your process of depicting yourself different from that of the rest of your work?
AW: Every year, there comes a month where I feel an unrelenting need to get my feelings and the way I’m seeing myself onto a canvas. It’s been a very strict practice that I’ve had for the past five years. I think it’s just as important to depict myself within a specific period of time as it is to depict the cultural objects and symbols that define it.
My self-portraits are also a bit more dramatic than my other works. I feel more comfortable and honest with the subject since it’s myself. In HYPNOSIS (2022), I’m lying horizontally on my stomach, staring deep into the void.
JCD: The void being the cellphone.
AW: Yes, It’s that constant endless rabbit hole that we all get sucked into these days. I think this was a pretty daring piece to execute and I didn’t want to inaccurately represent someone else with a piece like this.
JCD: The subject is you but I think the work is really representative of all of us today. It’s a beautiful piece.
You’ve had many people ask you about your complex process. When I first saw your work, I thought they were textile-based. They almost looked like quilted pieces of material—even your self portrait. I know you’ve talked about your use of melted coils of colored plastics quite a bit but I think it’s a very revolutionary medium—I think it’s called polylactic acid. The device you use to paint is very meticulous too. You’ve mentioned that it can take over a hundred hours to complete a single painting.
AW: It can. Sometimes longer.
JCD: But you’ve also previously mentioned that there is a sort of intuition to creating your paintings; that it’s an organic process. How do you balance the strict boundaries of using polylactic acid with your organic, or intuitive, process?
AW: There are definitely some set boundaries with the process. The methods I use to melt the plastic and draw lines on my canvas are very specific. But, there’s also this sort of synthetic or artificial nature to it that I find complementary to what I want to represent on each panel. That was really fun to stumble on at the very beginning of my practice. Although everything is very systematic, there’s a natural intuition that comes into play the more I work with this medium. Like an oil painter, I create my own palette for each work.
JCD: Your use of this medium is incredible. There’s an intense satisfaction that I think everyone receives from seeing your work in person. Have you faced any challenges with the digital life of your work? It’s interesting because you source so much content from the digital world in your art, and now that art is part of our collective digital archive. Is this something you’ve thought about?
AW: There are challenges with not being able to translate my works accurately in a digital image. As we move forward in our technological world, there may be a time when our methods of documentation of works such as my own are displayed differently. But there is so much satisfaction with seeing my, and all, paintings in person.
That’s not to say I want my work to be an exclusive viewing experience—I want anyone and everyone who wants to see my work to see it! But, I’ve heard many people say they had no idea of the meticulousness of my art until they saw it in person. Only then do they understand how much complexity there is within each of my works. You can see the evidence of my hand, every line that I make, what direction I led my pen, and the decisions I made with every mark.
JCD: I never like to ask an artist what inspires them, but I can’t stop myself this time. What is actually inspiring you right now?
AW: At this specific moment? A lot of podcasts.
JCD: I wouldn’t have guessed that.
AW: Of course, my main influences are social media, but a lot of the things I listen to while working are podcasts about white collar criminals, corporate fraud, technological advances, and the state of the world. All of my canvases are inspired by what I’m listening to and my perception of the direction our world is headed in, but I think that does change over time. One day, I want to be able to look at the archive of my work and pinpoint precise moments of my life. I’ll create a timeline by identifying certain symbols and objects across every work.
JCD: But that’s not to say your work itself is dated. It captures specific moments in time but has longevity in its interpretation.
AW: And the world moves so fast, too. So, I think it is accurate to say that some of my works are dated. Certain objects pictured within them are already obsolete.
JCD: It’s interesting to think how future scholars will interpret the artworks being made during this period in time, especially yours. That’s the dream, right?
AW: Yes, but I think they should be a bit more concerned with the state of their existence. There’s a meme I recently saw that said if you showed somebody back in 2000 how much content we consume now, they would have a meltdown. It’d be so overwhelming. Our past selves would be stunned by the pace of life today. Hopefully, it slows down in the years to come but you never know.
JCD: I’ve never thought about that.
You have an exhibition coming up, Extended Warranty at Greg Kucera Gallery, opening in January. It sounds like you’ve got no plans of slowing down in 2023. So what’s next? What can the public expect to see in that exhibition and what else are you working on in the coming year?
AW: Yeah! That’ll be a smaller exhibition than Limited Liability, but it’s sort of an extension of thought that resulted from building the body of work that’s on view at SAM. As this exhibition opened, I was still thinking through these ideas of materialism and digital culture and wanted to extend them into the exhibition at Greg Kucera Gallery. So, both exhibitions—Limited Liability and Extended Warranty—explore similar threads. I have these trains of thought that I’ve been exploring since I became an artist and I want to continue seeing them out in the months and years ahead.
On a fall day last November, 16 members of SAM’s Teen Arts Group (TAG) gathered around the craft tables of the museum’s Nordstrom Art Studio. Today, instead of making art, they’d be talking art with one of the most significant artists working today, Dawoud Bey.
Bey had traveled to Seattle for SAM’s presentation of Dawoud Bey & Carrie Mae Weems: In Dialogue, an exhibition that brings together the work of the two friends and mutual inspirations for the first time. Bey would be giving a public talk that evening, but during the day, he generously met with these future artists and leaders.
Founded in 2007, TAG is an intensive program for high school-aged youth who are interested in learning about themselves and the world through art. The program cultivates the voice and leadership of diverse young people who share their passion for the power of art to build community. The group comes together in weekly meetings from October to May, learning about the behind-the-scenes work of the museum, making art, and leading tours. Their work culminates in Teen Night Out, a free teens-only event held in May with DJs, live music performances, art tours, workshops, and art-making activities.
Bey talked with the teens about his relationship with art and photography when he was their age and how his passion for music as a young man influenced the way he would make art more than 30 years later. Artists in their own right, TAG members were eager to learn about Bey’s thought process as he positioned a model for his portraits. He revealed that he only ever accentuated a pose or gesture the person was already doing naturally. Bey illustrated the point with program intern Karla Pastrana, encouraging her to bring her relaxed arm more forward for the sake of the shot.
Left to Right: Lila, Sreshta, Cris, Kaz, Faith, Charlotte, Gwyneth, Dawoud Bey, Ronan, Mori, Corrina, Nivedita, Smriti, and Lylah.
Here are some reflections from various TAG members on the experience of meeting Dawoud Bey:
“It was an amazing opportunity to meet an artist like Dawoud Bey in person. It was really cool to get to hear about his story, creative process, and inspirations. I’m personally interested in the arts and museum industry myself so his advice was really insightful and inspiring.”
– Charlotte, 16
“My first impression was that he was a very thoughtful person. He took his time when he sought to communicate something, and did so with purpose. That careful observance was weaved into each of his photographs.”
– Sreshta, 17
“Meeting Dawoud Bey was inspiring for me because we had the opportunity to ask about his life and artistic process. I thought it was interesting to hear about what he was doing when he was a teenager and how he got into the art world by getting his first camera when he was a teen. Getting to talk to an artist like Dawoud Bey, who is so amazing and accomplished, is really incredible because it’s really easy to idolize artists, which they should be, but it’s important to remember that they are people and they started as teens just like us.”
– Lila, 15
Hot tip: Want to join TAG? Applications to join the 2023–24 TAG cohort will be available in spring 2023. Follow @samteens on Instagram for the latest updates!
– Rachel Eggers, SAM Associate Director of Public Relations
The third theme of SAM Photo Club is in full swing! With Dawoud Bey & Carrie Mae Weems: In Dialogueclosing at SAM on Sunday, January 22, we’re now accepting photo submissions to the final of three defining motifs of these legendary photographers’ artistic careers: family & community.
As inspiration to post your own photo and join SAM Photo Club, we’re spotlighting some of the family & community photos taken by SAM’s two staff photographers: Chloe Collyer and Alborz Kamalizad. Outside of photographing all SAM events, exhibitions, installations, programs, and more, they’re also working professionals. Scroll down to browse through a few photos taken by Chloe of their family and community and learn which of Dawoud Bey’s photographs on view in SAM’s exhibition inspires them the most!
Mom and Dogs, 2016
My family is a jumble of genetic relations and adopted relatives. I was raised by my biological mother and her parents, all four of us born and raised in Seattle, WA. My grandparents are Maddog and Robyn Collyer; two animals that probably shouldn’t nest together but somehow find a balance. My grandad is a funny prankster, a songwriter who plays piano, bass, guitar and for some reason collects flashlights. My grandma is a soft spoken Jeopardy genius and angelic in every way.
Maddog at Night, 2019
Cribbage with Grandparents, 2022
Friends in Laughter, 2022
My oldest friend is my godbrother Ardent has been by my side since sixth grade. We are stuck together for life. He is my most reliable comedian, hype man and supporter over the years.
The Birmingham Project: Wallace Simmons and Eric Allums, 2012
Another symmetrically balanced image from Bey, this time balancing two generations of the African American community in a mirrored image. The poses match, the light source reversed in each side of the diptych. It’s a timeless, solemn memorial to the loss of young life in Birmingham 1963. It’s one of my favorite images of all time.
Chloe Collyer (they/them) is a photographer, journalist, and fifth-generation Seattle resident whose work is deeply connected to the history and communities of the Pacific Northwest. A natural born documentarian, their toolkit includes 15+ years behind the camera, an associate’s degree in commercial photography, and seven years of experience working as a photojournalist and photo editor. In addition to working as a staff photographer at the Seattle Art Museum, Chloe also teaches photography at Youth in Focus and Photo Center Northwest, and has had their work featured in The New York Times, Bloomberg Business, NPR, Buzzfeed, Real Change, Crosscut, and more.
Join #SAMPhotoClub by sharing your own family & community photography on Instagram and tagging us before January 20. Every week, we’ll share a few of the photographs we’ve been tagged in on our Instagram Stories.
The new year brings new art… and lots of it! We’re so looking forward to an entire calendar’s worth of must-see exhibitions across all three of our dynamic locations and can’t keep it to ourselves any longer. Read below for a sneak preview of what’s to come at SAM over the next twelve months!
“There will be something for everyone at SAM in 2023,” says José Carlos Diaz, SAM Susan Brotman Deputy Director for Art. “The exhibition schedule includes rich displays from the museum’s collection as well as a global array of dynamic art and programming from places such as Indonesia, Ghana, Japan, and right here in the Pacific Northwest region. 2023 welcomes not only a new year but also the 90th anniversary of SAM, which first opened to the public in June 1933.”
Kicking off the year, SAM’s modern and contemporary galleries now play host to Reverberations: Contemporary Art and Modern Classics. This array of art spotlights recent acquisitions and includes many works going on view for the first time. With works by artists such as Andy Warhol, Joan Mitchell, Mark Rothko, and Ruth Asawa, contemporary artists Senga Nengudi, Laura Aguilar, and Mickalene Thomas, and emerging artists Dana Claxton, Woody de Othello, Naama Tsabar, and Rashid Johnson, this collection installation explores the idea of ongoing artistic exchange. Many of the works on view are by artists of color and many are by women artists, reflecting the museum’s ongoing commitment to diversifying the collection and the perspectives we present.
On March 9, SAM will open Ikat: A World of Compelling Cloth, presenting an immersive exploration of the complex textile created in regions around the globe. The exhibition will feature over 100 textiles made from the 12th century to the present including kimonos, furnishings, robes, and other cloths from Africa, Asia, Europe, and the Americas. A large-scale installation by contemporary artists Roland and Chinami Ricketts that offers the experience of walking into an ikat will also be on view.
Summer brings Soul of Black Folks, an exciting touring exhibition and the Seattle debut of Ghanian artist Amoako Boafo (b. 1984). One of the most influential artistic voices of his generation, Boafo is known for vibrant portraits that center on Black subjectivity, Black joy, the Black gaze, and radical care. Co-organized by the Museum of the African Diaspora (MoAD) and Contemporary Arts Museum Houston, Soul of Black Folks will present over 30 works created between 2016 and 2022.
Later in July, the Seattle Asian Art Museum will debut Renegade Edo and Paris: Japanese Prints and Toulouse-Lautrec, exploring the cities’ early 20th century artistic and social transformations. Through nearly 90 prints drawn from SAM’s Japanese prints collection as well as private holdings of Henri de Toulouse-Lautrec’s artwork, this exhibition offers a critical look at the renegade spirit in the graphic arts in both Edo and Paris, highlighting the social impulses—pleasure seeking and theatergoing—behind the burgeoning art production.
Finally, the fall will see SAM celebrate the works of Katsushika Hokusai (1760–1849) with Hokusai: Inspiration and Influence, from the Collection of the Museum of Fine Arts, Boston, opening October 19 at SAM’s downtown location. Thanks to the popularity of the instantly recognizable Great Wave—cited everywhere from book covers and Lego sets to anime and emoji—Hokusai has become one of the most famous and influential artists in the world. This touring exhibition organized by the Museum of Fine Arts, Boston (MFA), takes a new approach to the work of the versatile master, pairing more than 100 of his woodblock prints, paintings, and illustrated books from the MFA’s collection with more than 200 works by his teachers, students, rivals, and admirers.
Other 2023 highlights at SAM include the solo exhibition of 2022 Betty Bowen Award winner Elizabeth Malaska; the SAM debut of artist, director, and writer Howard L. Mitchell—also known as GATO—whose 2019 film, Forgive Us Our Debts, tells the fictional story of Trey, a terrified 13-year-old Black boy who lives with his family in a rapidly gentrifying neighborhood; large-scale sculptural works at the Olympic Sculpture Park 365 days a year; and so much more.
With so much in store for 2023, we can’t wait to welcome you back to SAM soon!
– Rachel Eggers, SAM Associate Director of Public Relations & Lily Hansen, SAM Marketing Content Creator
Dawoud Bey & Carrie Mae Weems: In Dialoguecloses in less than one month at SAM! While the exhibition is on view, we’re launching #SAMPhotoClub, an Instagram campaign that asks our followers to share their favorite photographs inspired by three common motifs of these legendary American artists.
We’re now accepting submissions to the second theme of SAM Photo Club: street photography. As a way to inspire continued participation, we’re spotlighting a few street photos taken by SAM’s staff photographers Alborz Kamalizad and Chloe Collyer. Read below to see a selection of Alborz’s favorite street photographs and discover which of Carrie Mae Weems’s street images has stuck with him the most.
Street Photography, 2021–2022
Photographer Jeff Wall has said that he thinks of the snapshot as the most fundamental type of photography, and that every other photograph derives meaning by its relationship to the snapshot. I like to think about this when I’m out in public with a camera. My street photos take about as much deliberation as a snapshot: they’re instinctive and quick. But through the combination of subject matter and composition, I hope to create a gentle feeling around what city life is like.
The things that consistently draw my eye:
1. How a camera can render the many different scales of reality that exist in and around a modern city. A deep valley becomes texture. The base of a lamppost feels monumental. Buildings and signs turn into abstractions.
2. Little signs of fleeting humanity. Walking through a city we’re surrounded by other people, yes. But there is also so much evidence for things that have already happened — signs of people we did not see. I’m drawn to these tiny stories. Likewise, there are people caught at a distance or in the middle of moments that are just slightly difficult to understand because we’ve somehow missed the essence of whatever set them in motion.
In either case, I’m drawn to the infinity of possibility in a city.
Harlem Street, Carrie Mae Weems, 1976–77
This photo perfectly balances spontaneity and almost mathematical precision. The straight-on view of the buildings (probably from the middle of the street?) makes a grid-like background out of doors, windows, bricks, stairs, and the vendor’s signage. Meanwhile, the people are in an utterly casual moment of everyday life.
Alborz Kamalizad (he/him) is a visual artist who moves between photography, animation, documentary filmmaking, and illustration. He was born in Iran, raised in the US, and currently works as a staff photographer for the Seattle Art Museum. As a visual journalist and photographer, his work has been featured by Los Angeles’s NPR affiliate, Mother Jones Magazine, the United Nations, The Nature Conservancy, MasterClass, and the Getty.
Participate in #SAMPhotoClub by sharing your own street photo on Instagram and tagging us through Friday, December 20. Every week, we’ll share a few of the photographs we’ve been tagged in on our Instagram Stories. Stay tuned as we announce submissions for our final themes—family & community photography—later this week.
While Dawoud Bey & Carrie Mae Weems: In Dialogue(November 17–January 20) is on view at SAM, we’re announcing photography submissions to three of the defining motifs of these legendary photographers’ artistic careers: self-portraits, street photography, and family & community.
With submissions to the second theme of SAM Photo Club—street photography—now open, we’re taking this time to spotlight the artwork of SAM’s two staff photographers: Chloe Collyer and Alborz Kamalizad. Although both photo-based artists are responsible for capturing all events, exhibitions, installations, programs, and more across all three SAM locations, they’re also working professionals too! Scroll down to browse through Chloe’s favorite street photos they’ve taken and learn which of Dawoud Bey’s street photographs on view in SAM’s exhibition inspires them the most!
Louis Mendes, NYC, 2016
A cherished portrait from when I met Louis Mendes, a legend in the photo world, outside of B&H in Manhattan. Famous for his lifetime dedication to polaroid street portraits in NYC, Mendes was nice enough to talk about film cameras with me and posed when I asked for his portrait. He seemed impressed by me and he took my photo free of charge.
Martin Luther King Day, 2020
Seattle is located in King County, the only jurisdiction in the USA named for Dr. Martin Luther King Jr., so it seems fitting that documenting our annual MLK rally is a tradition for me. Documenting Seattle’s annual MLK and May Day marches are part of what shaped my eye and ethics as an emerging photographer. These events can be chaotic. I use my racing thoughts like a superpower and try to keep my eyes darting and my hands turning camera dials as needed. When I walk the streets of Seattle I think about the five generations of my ancestors who walked the same streets and the Native families who lived on this coast before that. When I document protests in Seattle streets, I think of C.H.O.P 2020 and of the 1999 WTO protests.
May Day Aztec Girl, 2018
The youngest member of CeAtl Tonalli, a traditional Aztec dance group, leads the annual May Day labor march in Seattle, Washington, 2018.
“Black Lives Matter” Black Friday, 2015
After the tragically preventable deaths of Mike Brown, Eric Garner and Tamir Rice, various groups across the nation chose Black Friday as a day of protest for Black lives. Black Friday 2015 was the first time I remember hearing “Black Lives Matter” at a rally.
Honor and Memory, 2021
At the height of the COVID 19, family members and allies of the MMIW (Missing and Murdered Indigenous Women) gather in Seattle’s southend to show the intersectionality of issues effecting Native and Black communities like substance abuse, police violence, domestic abuse and the pandemic.
Day 1, 2020
The Friday after George Floyd’s death I heard the sounds of protest outside my window and joined a crowd facing off police. This turned out to be day one of over 100 days of continuous protest in Seattle. I documented almost every day.
White Coats for Black Lives, 2020
On June 6, 2020 thousands of Seattle’s healthcare workers, medical students, and citizens marched to raise awareness of racism in healthcare.
Southend BLM March, 2020
A march through Seattle’s Southend on June 7, 2020 brought thousands of people of all ages into the streets to call for justice for George Floyd and others killed by police.
High School Protests, 2016
Seattle high school students walk out of class to protest the threat to DACA posed by the newly appointed Trump administration in September 2016.
A Young Man Resting on an Exercise Bike, Amityville, NY, Dawoud Bey, 1988
Is there anything more perfect than a slightly imperfect image? This photo reminds me of portraits by the photographer Steve McCurry including Afghan Girl from an infamous cover of National Geographic in 1984. Empathetic eye contact. This composition is so stable and balanced, it makes me feel extremely comfortable and yet the misalignment of the subjects eyes is impossibly imperfect.
Chloe Collyer (they/them) is a photographer, journalist, and fifth-generation Seattle resident whose work is deeply connected to the history and communities of the Pacific Northwest. A natural born documentarian, their toolkit includes 15+ years behind the camera, an associate’s degree in commercial photography, and seven years of experience working as a photojournalist and photo editor. In addition to working as a staff photographer at the Seattle Art Museum, Chloe also teaches photography at Youth in Focus and Photo Center Northwest, and has had their work featured in The New York Times, Bloomberg Business, NPR, Buzzfeed, Real Change, Crosscut, and more.
Join #SAMPhotoClub by sharing your own street photography on Instagram and tagging us before December 30. Every week, we’ll share a few of the photographs we’ve been tagged in on our Instagram Stories. Stay tuned as we announce submissions to our final theme—family & community photography—in the coming weeks.
“Paradise Camp imagines Fa’afafine utopia that shatters colonial heteronormativity to make a way for an Indigenous worldview that is more inclusive and sensitive to the change in nature.”
– Yuki Kihara
Eight years in the making, the exhibition Paradise Camp by interdisciplinary artist Yuki Kihara explores colonial histories, intersecting gender issues, and ecological crisis with rigor, humor, and flair. Comprising 12 tableau photographs featuring a cast from Fa’afafine—Sāmoa’s traditional third gender—communities, Kihara’s work summons the late 19th-century French artist Paul Gauguin and his works from “French Polynesia,” which are believed to have been inspired by Sāmoa. Paradise Camp was just presented at the 59th International Venice Biennale, where Kihara became the first Fa’afafine and Pacific artist to represent New Zealand.
Before her artist talk on December 10 as part of the 2022–2023 Saturday University lecture series, Haley Ha, SAM Manager of Public Engagement at the Seattle Asian Art Museum, interviewed Kihara about the ideas and process behind Paradise Camp, the impacts of climate change in the global south, and the meanings embedded in her grandmother’s kimono.
HALEY HA: You were selected to represent the Aotearoa New Zealand Pavilion at the 59th Venice Biennale before the pandemic started. What was your vision for Paradise Camp when you started, and how did it change?
YUKI KIHARA: I was lucky to shoot the photographs for Paradise Camp in March 2020 in Sāmoa just before the global lockdown. Around mid-2020 there were numerous articles published in the global north that described Sāmoa and neighboring Pacific Islands being a “safe haven” from the COVID-19 pandemic, due to our geographical isolation during the global lockdown. Part of this perception is embedded in the Western legacy that continues to view the Pacific region as an untouched “Paradise” that masks ongoing colonial violence. The idea of the Pacific region as “Paradise” was heightened every time COVID-19 numbers were climbing at apocalyptic levels in the global north.
The global lockdown was in a way a blessing in disguise because it gave me a gift of time to work on post-production and the editing of the exhibition catalogue for Paradise Camp while being isolated.
HH: Can you tell us how the notions of “paradise” and “camp” came together? Covering the white walls of the New Zealand Pavilion with the oceanscape and extravagant tableau photographs, there seems to be a clear visual sensibility that you frame as “camp aesthetic.” Is there a story you want to tell with this exhibition?
YK: The origin of “Paradise” derives from the biblical story of Adam and Eve in the garden of Eden, which forms the foundation of how the West sees itself as being heteronormative where these ideas were imposed upon “others” through the process of colonialism. However, the idea of colonial heteronormativity is questioned by the research conducted by Sāmoan American artist and writer Dan Taulapapa McMullin, who found missionary accounts dating back to 1896 which described Sāmoa’s origin story of the formation of the first humans, who were a male couple; one is transformed by the gods into a woman. This story of gender transformation is something that resonates with how gender is understood in Sāmoan culture, which traditionally recognizes four genders.
HH: For this edition of the Saturday University series, we have delved into the ecological landscape of our time and its challenged built environment. You’ve shared in an interview about your experience of flood in Sāmoa and living through its rapidly changing landscape. How did these experiences shape your artistic practice?
YK: The Pacific region has become synonymous with images of unpolluted and vacant white sandy beaches that are constantly re-created by the tourism industry. They are also commonly featured on screensavers of millions of people around the world, becoming ironic and cliché in popular culture. However, those clichéd images of white sandy beaches are real places in Sāmoa with real people who’ve lived there for generations, faced with real life issues such as climate change, given that almost 80 per cent of Sāmoa’s population lives along the coastal areas. Scientific data shows that the global average for sea level rise is 2.8–3.5 millimeters a year, compared to Sāmoa’s sea level rise measuring up to 4 millimeters a year. In Paradise Camp, I wanted to juxtapose fact and fiction in order to drive home the reality of climate change from a Fa’afafine perspective.
HH: We’ve been navigating the extreme climate of our time and belatedly acknowledging the disproportionate impact of the ecological crisis on Indigenous peoples and marginalized communities. In your view, how does gender play a role in engaging with ecology and the environmental crisis?
YK: Climate change impacts all of us. 80% of the Sāmoa population lives alongside the coastal areas including Fa’afafine community. But it has a particular kind of impact on marginalized communities, particularly on the Fa’afafine community because there are things that impact us more than others. And this is what I wanted to highlight in Paradise Camp, to talk about Fa’afafine experience with climate change.
HH: Your Kimono series tells a tale of speculative fiction and imaginative histories, but also of our present and perhaps our near future. Can you tell us about this work and the サーモアのうた (Sāmoa no uta) A song about Sāmoa? How did you first conceive this idea and developed it?
YK: In 2015, I came across an old kimono owned by my late Japanese grandmother Masako Kihara where the color of the kimono reminded her of Siapo, a hand-made Sāmoan backcloth made from the Lau u’a (paper mulberry tree). This was the initial inspiration to bring together textile traditions from Sāmoa (tapa) & Japan (kimono) into a cross-cultural fusion to create a series of ‘siapo kimono’ where kimono made from Samoan tapa cloth are presented as sculpture. The title of the series is adapted from a popular Japanese song entitled ‘Samoatou no uta’ in Japanese meaning ‘A song from Samoa.’ Music textbooks for elementary school students in Japan feature the song. The work aims to reframe the Vā [relation] between Japan and the Pacific and specifically Sāmoa, taking an Indigenous interpretation of trans-Pacific identity, gender, and history, while referencing my own interracial Sāmoan & Japanese heritage as a point of conceptual departure.
– Haley Ha, SAM Manager of Public Engagement at the Seattle Asian Art Museum
Images: Two Fa‘afafine (After Gauguin) from Paradise Camp series, 2020, Yuki Kihara. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand. Artist Yuki Kihara at her Paradise Camp exhibition presented at the 59th Venice Biennale, 2022. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand. Photo by Lukas Walker, 2022. Two Fa‘afafine (After Gauguin) from Paradise Camp series, 2020, Yuki Kihara. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand. Genesis 9:16 (After Gauguin) from Paradise Camp series, 2020, Yuki Kihara. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand. Installation view of ‘サ–モアのうた (Sāmoa no uta) A song about Sāmoa’ Phase 2: Fanua (Land),2021, Yuki Kihara, presented at the Aichi Triennale, Japan in 2022. Photo by Ayako Takemoto.
SAM’s photographers are getting in on the fun of SAM Photo Club too! While Dawoud Bey & Carrie Mae Weems: In Dialogue(November 17, 2022–January 20, 2023) is on view at SAM, we’re announcing photography submissions to three of the defining motifs of these legendary photographers’ artistic careers: self-portraits, street photography, and family & community.
Submissions to our first theme, self-portraits, are now open and will close this Friday, December 9. As we continue to round up submissions received from SAM’s Instagram community, we’re taking this time to highlight a few self-portraits by SAM staff photographer Alborz Kamalizad and asking him to share his favorite portrait by either Dawoud Bey or Carrie Mae Weems.
Self-Portrait, 2022
For me, self-portraiture is a strange photographic endeavor — in order to make a self-portrait a painter or sculptor doesn’t (and can’t) physically get out in front of their own art-making process like a photographer can (and has to). I’ve never tried to make self-portraits before so the #SAMPhotoClub presented a good reason to try. It was a daunting task at first, so I decided to think of a theme to bounce off of to help me get started.
I’ve recently relocated to the Seattle area from Los Angeles so where I am physically and the idea of “home” is top of mind. I’ve also been working on a separate photo project that has to do with our relationship with, and distance from, the natural world. With those two broad ideas in mind, an off-camera flash, and a self-timer on the camera shutter, I created these.
Self and Shadow, New York, NY, 1980,Dawoud Bey, 1980
It’s reassuring that probably everyone who’s ever had a camera in their hands has at some point taken a picture of their own shadow. These photographs aren’t only self-portraits, they also capture the presence of the camera, where the person is, and the sun. All are in perfect physical alignment.
Alborz Kamalizad (he/him) is a visual artist who moves between photography, animation, documentary filmmaking, and illustration. He was born in Iran, raised in the US, and currently works as a staff photographer for the Seattle Art Museum. As a visual journalist and photographer, his work has been featured by Los Angeles’s NPR affiliate, Mother Jones Magazine, the United Nations, The Nature Conservancy, MasterClass, and the Getty.
Join #SAMPhotoClub by sharing your own self-portrait on Instagram and tagging us through December 9. Every week, we’ll share a few of the photographs we’ve been tagged in on our Instagram stories. Stay tuned as we announce submissions for our next two themes—street photography and family & community photography—in the coming weeks.
Tooba (2002) is a 12-minute video installation by Iranian-born artist Shirin Neshat. Projected on two opposing screens, it centers around the image of a woman inside a tree, within a walled garden in the midst of a desert landscape. The woman disappears into the tree as a crowd of men approach, in what appears to be a kind of pilgrimage. As with much of her work, Neshat uses the grammar of traditional narrative filmmaking (her cinematographer Darius Khondji regularly works with Hollywood filmmakers like David Fincher and the Safdie brothers) to tell an allegorical story with poetic open-endedness. The combination gives Tooba the spiritual yet earthly feeling that is present in much of her work.
Originally, Neshat intended to film in Iran. In a making-of documentary she said, “we made many steps toward it… and then it was blocked [for] whatever reason.” The “whatever reason” is most likely the Islamic Republic, the theocratic regime that has governed Iran for the past 43 years. Any film, performance, or otherwise public artwork made in the country has to be vetted by its Ministry of Culture, which must be convinced that the work isn’t critical of the regime or its particular brand of politicized Islam.
It’s not hard to imagine why Shirin Neshat, whose work has repeatedly dealt with the gender apartheid inside Iran, would have a hard time getting a stamp of approval from the Ministry of Culture. The video itself is based on a novel of the same name by Iranian author Shahrnush Parsipur, who spent years as a political prisoner inside Iran. Parsipur now lives in exile, as does Neshat.
Brought into SAM’s collection in 2015, Tooba was on view in Be/longing: Contemporary Asian Art at the Seattle Asian Art Museum until July 2022, which is about when I started my position as a SAM photographer. One aspect of my job is to walk the galleries and take photos of museum visitors looking at the art. As an Iranian-American, I get a thrill noticing people examining Iranian artifacts in the museum’s collection because there are so few instances in the US where Iranian and Middle Eastern culture are visible.
I wonder what goes through people’s minds when they see “Iran” written on wall labels and how they reconcile that name with the typical images of “Iran” from our media: scowling men in foreign-looking religious or military garb, the leaders of the Islamic Republic. The Iran of today is cloaked behind those men and the opaque politics of nuclear negotiations.
That is until September 2022.
On September 13, Mahsa Jina Amini, a 22-year-old Kurdish Iranian woman, was detained for allegedly not complying with the regime’s compulsory hijab law—all women in the country must cover their hair and wear loose clothing that hides their bodies. She was reportedly beaten while in custody and died three days later. Amini’s death sparked a wave of country-wide civil disobedience, led by women who marched into the streets and defiantly refused to wear hair coverings. After eleven weeks of demonstrations, the movement shows no signs of slowing down. The number of women with free-flowing hair in public grows every day. To me, every one of them is an Iranian Rosa Parks daring to assert her own worth—often hand-in-hand with women who cover their hair but who fight in solidarity for the choice to do so.
This feminist revolution has also added a new wave of protest art to Iran’s history of guerilla art under the regime of the Islamic Republic. But the defining artistic work of this moment in Iran is probably the song Baraye, by Shervin Hajipour. A crowdsourced song whose title means “for the sake of,” Baraye has become the de facto anthem of hopeful revolutionaries in Iran. It is simply a list of what people are fighting for, taken verbatim from Iranian Twitter. The breadth of grievances—from the most basic (“for the shame of being penniless”), to the painfully specific (“for a girl who wished she was a boy”), to sweeping hopes (“for the future”)—demonstrate the intersectional alliance of Iranians fighting for change.
The song ends with the cornerstone chant of the movement: “woman, life, freedom.” Three words which when taken together, indicate that freedom for anyone is impossible without freedom for women. And so, if Iranians are successful, we may be witnessing what Shirin Neshat has called the “first female revolution” to overthrow a government.
This is a government with no room for song (for women, literally).
And so Shirin Neshat ended up filming Tooba in Oaxaca, Mexico and kept the setting of the video nondescript. This gives her work a universality that it probably would have lacked had she filmed in Iran. Neshat’s adaptability as an artist aside, the decision on filming location should have been hers to make and not one she was backed into by a theocracy that has banned her from working in her homeland. As people outside of the country use their freedom to continue raising awareness over the long history of oppression in Iran, how many Shirin Neshats are inside the country right now—rather than making art, desperate to find a missing friend? How many Shahrnush Parsipurs will never make it out of political prison to write a book that would inspire the next Tooba? And how many more Shervin Hajipours will risk their lives to sing?
Amateur photographers, professional photographers, with a camera, or with an iPhone—#SAMPhotoClub is for everyone! While Dawoud Bey & Carrie Mae Weems: In Dialogue(November 17, 2022–January 20, 2023) is on view at SAM, we’re announcing photography submissions to three of the defining motifs of both of these legendary photographers’ careers: self-portraits, street photography, and family & community.
Submissions to our first theme, self-portraits, are now open, and we’re taking the opportunity to highlight a few self-portraits by SAM’s staff photographers and also asking them to offer some insight into their favorite portraits by Dawoud Bey or Carrie Mae Weems. First up: Chloe Collyer!
Camera Techs, 2015
This is a moment of reflection at my old workplace called CameraTechs. Shortly after graduating from photo school I was working at the camera repair shop and had bought a new Sony mirrorless camera. Both my career and my camera were brand new.
Trans People are Divine, 2022
A self-portrait one month after receiving gender-affirming top surgery. I hold the words “Trans people are divine” to honor the ‘Black Trans Prayer Book,’ a publication of stories, poems, prayers, meditation, spells, and incantations used by Black trans and non-binary people.
First Self-Portrait, Carrie Mae Weems, 1975
In this photograph, Weems leans against a white pillar—the symbol of strength, a spinal cord, and long-lasting Greek architecture—but her pose is gentle and protective. This photograph has such strong tonal blacks and whites that, when I unfocus my eyes, I see a white square with a small black hole in the middle. Holes can mean something is missing; they can be windows to look through. In this case I see both, I see every woman here.
Chloe Collyer (they/them) is a photographer, journalist, and fifth-generation Seattle resident whose work is deeply connected to the history and communities of the Pacific Northwest. A natural born documentarian, their toolkit includes 15+ years behind the camera, an associate’s degree in commercial photography, and seven years of experience working as a photojournalist and photo editor. In addition to working as a staff photographer at the Seattle Art Museum, Chloe also teaches photography at Youth in Focus and Photo Center Northwest, and has had their work featured in The New York Times, Bloomberg Business, NPR, Buzzfeed, Real Change, Crosscut, and more.
Join #SAMPhotoClub by sharing your own self-portrait on Instagram and tagging us before December 9. Every week, we’ll share a few of the photographs we’ve been tagged in on our Instagram Stories. Stay tuned as we announce submissions for our next two themes—street photography and family & community photography—in the coming weeks.
Growing up in Seattle, I spent many years skipping school on the first Thursday of every month to wander the ever-changing exhibitions at SAM, picking out my favorite paintings and developing a personal relationship with them. I always knew that I wanted to be a part of creating the magic that happens when you enter a museum and experience the way one artwork can transform your perspective on the world and yourself. Through my internship at the museum, I was able to get closer to recognizable and historic artworks—many of which I have been enamored with for years—than I had ever imagined I would, as well as getting to intimately investigate, work with, and develop new relationships to new pieces in SAM’s collection.
Like a child being pulled away from a candy shop, as my Emerging Arts Leader Internship at SAM concludes, I want to look back on how transformative and fascinating working with the conservation team has been as I focused on conservation projects at the Olympic Sculpture Park and on objects in the museum’s reinstallation of its American art galleries, which debuted this October.
In the ever-increasing heat of Seattle’s newfound summer, I spent days running around the Olympic Sculpture Park with Senior Objects Conservator Elizabeth Brown as we treated the various sculptures that inhabit SAM’s outdoor location. This work ranged from re-waxing Louise Bourgeois’ Father and Son, to painting Alexander Calder’s The Eagle, to treating George Rickey’s kinetic sculpture Two Plane Vertical Horizontal Variation III. I was struck by the public’s fascination with our process, stopping on their strolls with their Australian Shepherds to inquire about what we were doing. I would stop—blow torch and wax in hand—and explain these routine art treatments. These interactions made clear to me that the public is invested in the art around them, and that this work contributes to dialogues on accessible art.
The conversation around what it means to work in conservation tends to be slim outside of the museum sphere, and I believe it’s a majorly overlooked aspect of the processes artworks go through before they are sent across the world to various museums, acquired from collectors, or have been sitting on display for months. How do we interact with artworks in a way that will allow them to be experienced in the future? Conservation is a field that combines investigation in so many different directions: the hand-skills needed to replicate the movements of practicing artists, the chemistry knowledge that informs how to interact with various materials, and the knowledge of art history that is needed to investigate the unique mechanisms of every artwork. My understanding of how multifaceted conservation is has grown immensely during my time here at SAM.
Working at SAM has also revealed to me how museums and other art institutions can work toward greater equity. As part of my internship, I attended a few sessions of the American art project’s advisory circle, a group of 11 members of the community who advised on the reinstallation. These sessions were eye-opening. I was able to see and be a part of how SAM is working to eliminate an echo chamber of only museum staff in reflecting how communities would like to be represented themselves in the galleries.
I will look back longingly on my experience, wishing I could use the XRF machine (essentially a handheld X-ray) one more time or attempt to clean a 19th-century elevator screen using a CO2 gun with Objects Conservator Geneva Griswold and fellow conservation intern Caitlyn Fong again. I will forever cherish being able to work so closely with objects from around the world. Becoming so personal with the art that I grew up visiting in the museum and investigating it on a whole new, and sometimes molecular level, has been one of the greatest learning experiences I could have imagined.
In concluding my internship, I look forward to seeking out more opportunities in the conservation field and to make sure that the art that touches us can be seen for years to come.
– Rosa Sittig-Bell, SAM Emerging Arts Leader Intern in Conservation
2022 has been a record-breaking year for floods across the planet, enveloping both urban and rural areas in East Asia, Southeast Asia, and the US. This frightening fact leads us to wonder: How do we adapt to accelerating changes of climate and crisis?
In the nineteenth-century, Japanese polymath Minakata Kumagusu combined research in anthropology and local forms of knowledge to learn about the natural world. He campaigned to preserve local forms of knowledge while the Meji government favored European forms of academicism. And he did so as a scientist and a participant in local forms of knowledge.
Today, we find like-minded contemporary researchers and activists pioneering in the same spirit, gallantly moving through our challenged landscapes, cities, and neighborhoods while centering the work of local communities and their embodied knowledge of floods. Dr. Luisa Cortesi, Assistant Professor of the International Institute of Social Studies in The Hague, Netherlands, experienced one of history’s most disastrous floods while conducting research in North Bihar, India between 2007-2008. During her multi-year stint in the region, she reexamined the ecological systems of the river and the riverine land to better understand floods and the complex interconnections humans share with nature. Her academic contributions to natural disasters, floods, and resource access have won her many awards, including the 2017 Eric Wolf Prize in the field of Political Ecology, the PRAXIS award for outstanding achievement in translating anthropological knowledge into action, and the 2017-2018 Josephine deKarman fellowship.
On Saturday, November 12, Dr. Luisa Cortesi invites visitors to learn about her travels in the North Bihar region while expanding our knowledge of flood frequency, considering the connections between water and its surroundings. In advance of this third lecture in our 2022–2023 Saturday University Lecture Series, Haley Ha, SAM Manager of Public Engagement at the Seattle Asian Art Museum, spoke with Dr. Cortesi about her background, her thoughts on the equity of knowledge, and what you can expect at her upcoming talk.
HALEY HA: Tell us about your background. What led you to your current field of study?
DR. LUISA CORTESI: I grew up in small-town Northern Italy. To be precise, I grew up in the enclave of the racist party Lega Nord during the years of brutal rhetoric against Southerners, and partially in the South, from where my mother had migrated. In the North, I was considered a Southerner and was discriminated against beginning in kindergarten. In the South, I remained an outsider associated with Northern racists. This was probably why I started questioning the meaning of ‘community’ very early on. Not only did I realize I did not belong anywhere, but, more expansively, the categories of ‘us’ and ‘them’ never made any sense to me.
I remember my parents as unconventional, critical, outspoken, and possessing a passion for social justice. Despite living in a hostile setting, they refused to consider themselves victims or superior to anyone but treated their situation as analytically as possible. Now that I think about it, their discussions, stemming from very different cultural contexts, were fertile terrain for an anthropological initiation.
HH: How has your background influenced your research interests?
LC: A factor that certainly influenced my current research was my lifelong reverence toward water. In the south of Italy, where we would visit my mother’s family for a few months each year, running water was available only in the very early hours of the morning, which influenced our day-to-day life greatly. Whenever we would travel north to south or vice versa, we would always stop at the main river in Italy, the Po, just to admire its magnitude and revel in its grandiosity. I also lived through different floods and other water troubles that inspired my future research. For example, I remember walking through a mud flood accompanied by a major blackout during my college years—although these were nowhere near as catastrophic as the major floods I lived through while in India.
Luisa Cortesi with the Megh Pyne Abhiyan teams who worked on the Dug-Well project.
HH: What was it like working with diverse communities in the North Bihar region of India?
LC: I have traveled in and out of India in different capacities since I was 21. I feel I came of age in India. While with local NGOs and local communities in the region—not through international organizations or funding agencies—I experienced several major floods, mostly by myself while possessing coarse language skills and important academic responsibilities. Living through those floods, instead of accepting the first opportunity to leave the region, as well as the development of ethnographic skills of connection and understanding, enabled my acceptance in those communities. I feel deeply indebted to the people of North Bihar for what they have taught me. North Biharis, regardless of their formal education level, are not only experts on matters of disastrous water as my talk will explain, but are barefoot philosophers in their own right. This is particularly the case for Dalit and Tribal communities, whose experiences of discrimination are atrocious, and yet whose wisdom in all matters of life and environmental management is unmatched.
HH: What actions or approaches have you found to be successful in helping to break through the silos of social and natural science, as well as western and traditional knowledge?
LC: Every scientist has a specialized interest. It’s not easy to keep up with one field of research, let alone multiple. But in order to succeed, scientists need to develop deep relationships with others and a thorough understanding of those individuals collaboration would be useful. My training was unique in that it combined cultural and environmental anthropology with environmental studies and water sciences. I personally do not believe in a hierarchy of knowledge, nor in the opposition that exists between western versus traditional knowledge. Have you ever tried learning a language later in life? If so, you realize that this new knowledge is neither ‘western’ nor ‘traditional.’ Rather, it is both embodied and theoretical, and explicit and tacit at the same time. As humans, we must all deal with the challenges of the environments in which we live. Dividing knowledge of these environments will not elicit change.
HH: Can you elaborate on your thought on the issue around equity of knowledge?
LC: Poverty is not only about purchasing power and/or access to services. It is about the right to knowledge, and the protection of this knowledge not only from those who want to appropriate it, but also from those who want to cancel it. Without knowing how to go about in this world, we are reduced to pieces in a machine, dependent on the words of those in control, and unable to stand on our own, both as individuals and as place-based communities.
HH: How do you spend your free time?
LC: I have a lot of passions! I love learning new things, even if I’m not always successful. I recently began playing rugby, which I intend to continue as soon as my team members’ patience sticks extend long enough for me to internalize the sport. I also like to experiment in the kitchen, creating new unexpected combinations for seriously eccentric tastebuds. I am smitten by combined colors, but find myself most drawn to knitted textile designers. I spend at least one day per week outdoors, generally hiking, listening, or ocean gazing—it functions as a reset.
But I am also passionate about a side of my work I don’t get to do as often as I’d like: applied anthropology. This looks like joining a community (broadly intended, including an organization) and figuring out how to help it with its challenges. I work pro-bono involved with organizations focused on water and environmental disasters because that is what I am most competent in. More broadly, I enjoy the challenge of combining analytical and organizational skills to support a set of people in reimagining their habitat or work.
HH: At the Water Justice & Adaptation Lab, you use the term “water justice.” Could you define it and explain how it fits into the realm of environmental justice?
LC: In my experience, environmental justice, while useful at a policy level, is too vague in its applicability to water problems. To live with water requires a specific set of expertise: the knowledge of where excess water is stored, where to find more of it, and how to distinguish different waters for different usages. Being formally trained in the water sciences through my Ph.D. helped me to understand the water knowledge of those with whom I lived through water disasters and who deal with water problems on a regular basis. So, the term ‘water justice’ intends to combine and cross-fertilize the knowledge of local communities, scientists, and policymakers on an even epistemological scale.
– Haley Ha, SAM Manager of Public Engagement at the Seattle Asian Art Museum
Photos: Luisa Cortesi, Water Justice & Adaptation Lab.
Curating an art exhibition isn’t a competition—unless you’re a University of Washington student attending the School of Art + Art History + Design’s upper-level seminar, Exhibiting Chinese Art, taught by FOONG Ping, SAM’s Foster Foundation Curator of Chinese Art.
Pivoting from in-person to virtual learning, FOONG thought a little friendly competition would engage her students. She split them into teams and assigned three seemingly unrelated artworks by contemporary Chinese artists for them to research. Each team created a cohesive and imaginative exhibition framework to display the three works.
“I wanted to challenge my students, and they really impressed me,” says FOONG. “This exhibition has been in the works for a long time, but a few of their ideas have since been incorporated into the show. Beyond the Mountain wouldn’t be what it is today without their insights.”
Opening this July, Beyond the Mountain: Contemporary Chinese Artists on the Classical Formsis the latest special exhibition to open at the renovated and reimagined Seattle Asian Art Museum. Introducing Chinese artists never before exhibited at SAM as well as drawing from the museum’s collection, the exhibition sees artistic themes of the past revitalized. It explores age-old subjects such as Chinese ink painting, proverbs, and landscapes while reflecting upon current or recent events—from the global language of street protests to escape in a time of contagion. Together, the artists contemplate the societal toll of modernity and globalization as well as the impact of humans on the natural world.
One of the works FOONG is most excited to see back on view is Ai Weiwei’s Colored Vases (2010). An acclaimed contemporary artist and outspoken dissident, Ai dipped nine earthenware vases into buckets of industrial paint and then left them to dry. In covering the surface of these purportedly ancient artifacts with bright new paint, Ai suggests that our perceptions of authenticity are a status quo that might be challenged. Much like history, he says, the vases are “no longer visible, but are still there.”
Another highlight are two videos by Yang Yongliang. From afar, these large-scale projections look like classical ink paintings—until you realize that they are actually digital pastiche of video and photography where construction cranes and other modern interventions disturb the majestical natural scene.
“The exhibition is about this moment in our lives,” says FOONG. “These Chinese artists engage with classical Chinese themes, but they speak to everyone.”
Read below for a short interview with exhibition curator FOONG Ping on visitors can expect to experience in the galleries.
SAM: What artwork are you most excited for audiences to see and interact with in the galleries?
FOONG Ping: With this exhibition, I’m introducing Seattleites to an artist new to us: Lam Tung Pang. He has created a site-specific installation in one of our galleries that I really think is going to blow people’s minds. It’s titled The Great Escape and responds directly to his experiences of the COVID-19 pandemic in Hong Kong. To escape the stress of the 2020 lockdown, Pang started reading kids’ books and also became fascinated with the master of escape, Harry Houdini. The artwork reflects this specific time in our lives and his thinking about the ways we might free ourselves from constraints—mental & physical—that bind us. I’m confident that the piece goes beyond expectations when people think about Chinese art.
SAM: You’ve described this exhibition as both traditional and modern Chinese artistic forms. How is this seen throughout the exhibition?
FP: Everyone has certain stereotypes about Chinese art—including Chinese folks! Although there are common Chinese artistic elements of ink-brush painting and images of landscape, Beyond the Mountain is so much more than that. The artists in this exhibition have taken these identifiable ideas from Chinese art and transformed them for a modern audience. This exhibition is intentionally small and precise, so visitors can deeply explore each artwork’s clear and distinct voice.
SAM: What message do you want audiences to take away from this exhibition?
FP: I want audiences to understand the legacies of Chinese art, language, and culture and how these legacies remain incredibly relevant today. No matter a visitor’s background, Beyond the Mountain reveals the existence of a global common language, where everyone can reflect on Chinese history and make a connection to their own experiences.
– Lily Hansen, SAM Marketing Content Creator
Segments of this article first appeared in the July and October 2022 editions of SAM Magazineand has been edited for our online readers. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks.
The Seattle Art Museum and the Betty Bowen Committee are proud to announce Portland artist Elizabeth Malaska as the winner of the 2022 Betty Bowen Award! The juried award comes with an unrestricted cash award of $15,000 and a solo exhibition at SAM. This year’s committee included chair Gary Glant, Mike Hess, Mark Levine, Catharina Manchanda, Llewelyn Pritchard, Greg Robinson, and Norie Sato.
Malaska’s grand tableaux respond to a history of Western painting and power dynamics that often assigns women the roles of submissive accessories. In search of more potent and less pleasing feminine subjects, her tour de force paintings unpack historical genres, such as the reclining nude, and offer up challenging and introspective visions. Malaska is a 2021 Guggenheim Fellow, as well as the recipient of fellowships from The Joan Mitchell and Hallie Ford Foundations. Recent group exhibitions include Time Being at Oregon Contemporary and Making a Better Painting: Thinking Through Practice at Lewis and Clark College. Her work is in the collections of The Portland Art Museum, The Hallie Ford Museum, and The Schneider Museum of Art. Her work will be featured at the Seattle Art Museum in a solo exhibition in 2023, with dates to be announced.
Klara Glosova won the Kayla Skinner Special Recognition Award and Rafael Soldi won the Gary Glant Special Recognition Award, in the amount of $2,500 each. Finalists Sam Hamilton, Tim Hutchings, and Ric’kisha Taylor will each receive Special Commendation Awards in the amount of $1,250, awarded annually since 2020. The six finalists were chosen from a pool of 532 applicants from Washington, Oregon, and Idaho to compete for the $23,750 in awards.
Klara GlosovaRafael Soldi
“Selecting the Betty Bowen Award winner is always a formidable task, and this year was no exception with an extraordinary pool of applicants,” says Gary Glant. “We are thrilled to see Betty’s legacy live on with this year’s winners, who all represent the incredible artistic talent and vision to be found in the Northwest.”
Founded in 1977 to continue the legacy of local arts advocate and supporter Betty Bowen, the annual award honors a Northwest artist for their original, exceptional, and compelling work. Betty Bowen (1918–1977) was a Washington native and enthusiastic supporter of Northwest artists. Her friends established the annual Betty Bowen Award as a celebration of her life and to honor and continue her efforts to provide financial support to the artists of the region. Since 1977, SAM has hosted the yearly grant application process by which the selection committee chooses one artist from the Northwest to receive an unrestricted cash award, eligible to visual artists living and working in Washington, Oregon, and Idaho.
“I am profoundly honored to have been chosen by the committee as the recipient of this year’s Betty Bowen Award,” says Malaska. “This is an exceptional opportunity, and I am already exhilarated thinking about the paintings I’m going to make. I wholeheartedly believe that art has the capacity to transform our world for the better. It is extraordinary to me that Bowen’s passion and legacy continues to support Northwest artists. Such a sustained reach of vision is deeply inspiring to me and something that I aspire to through my own work.”
The 2021 winner was Seattle artist Anthony White. His solo exhibition, Limited Liability, is currently on view at the Seattle Art Museum through January 29, 2023. Learn more about Malaska and all of the 2022 Betty Bowen finalists here.
– Rachel Eggers, SAM Associate Director of Public Relations
Images:Photo of Elizabeth Malaska by Mario Gallucci. Photo of Klara Glosova by Jonathan Nesteruk. Photo of Rafael Soldi by Jess T. Dugan.
As I write this, the first wave of visitors have finally experienced American Art: The Stories We Carry. This major reinstallation of our American art galleries has been two years (at least!) in the making and is the product of the work of a mighty team of collaborators, funded by generous grants from the Mellon Foundation and the Terra Foundation for American Art.
The multiple crises of recent years, together with the museum’s commitment to equity, inclusion, and diversity have made it essential that we question and dismantle the biases and myths that have historically driven—whether intentionally or not—our understanding and presentation of American art at the museum. As a curator of American art with a degree in European art history and a career in museums from Houston to Honolulu, I know well that the art of the United States does not begin and end with the oceans that define its coastal borders. Indeed, American art is as multilayered as America itself. More a collective of regions than a homogenous whole, the geopolitical expanse now known as North America is home to numerous clearly identifiable, yet often intersecting, communities, each of which is mirrored in equally layered artistic traditions and cultural practices.
To reflect and respond to the many-sidedness of American art, when embarking on this project we knew we needed to set aside art historical chronology and instead consider constellations of artworks from many different time periods and traditions. We immersed ourselves in the museum’s storage vaults, unearthing works that had not been exhibited in years—or, in some cases, ever—and contemplating the counterpoints they offered to the better known, classically canonical examples ordinarily on view in the museum’s American art galleries. These works speak volumes about the history of art at SAM and in this region, and they shed light on the communities that have been historically excluded in traditional narratives of American art.
Theresa Papanikolas & Barbara Brotherton at the opening of The Stories We Carry on October 20, 2022.
My use of the word “we” is intentional: Barbara Brotherton, SAM’s Curator of Native American Art, has been with me on this project every step of the way as a powerful ally in determining what American art can and should be at SAM. Over her 20 years at the museum, she has always been aware that Native American art is American art. Together, Barbara and I sought points of intersection between these two branches of the museum’s collection and for the first time envisioned a space in which they would intersect. Our work has been bolstered by a host of individuals—three artists, four interns, 11 advisors, and just about every museum department—all of whom brought knowledge that not only greatly enriched the project, but also established a collaborative model that will continue to shape exhibition planning at SAM.
All of us are delighted to share The Stories We Carry with you! In our new galleries, you will see old favorites alongside new and unexpected surprises that show how ideas persist across time and space and how history resonates in the present. And you will find curatorial interpretation (labels and wall texts) together with video clips from artists and experts—“living labels”—whose wisdom and perspective adds nuance to the objects on view. I’m also thrilled by the in-depth exhibition website, which brings you into the process with a project timeline, quotes, photos, and inspiring videos featuring our collaborators sharing their perspectives.
The Stories We Carry has definitely been a rich and rewarding journey. We invite you to now make it your story.
– Theresa Papanikolas, SAM Ann M. Barwick Curator of American Art
Priya Frank, Director for Equity, Diversity, and Inclusion, and Jason Porter, Kayla Skinner Deputy Director for Education and Public Engagement, are both inspiring and passionate leaders at the Seattle Art Museum. But they have something new in common: they are both recently published authors of their first books! From independent publisher Rowman & Littlefield, their books explore topics related to their expertise of engagement and equity. Here, they talk about their books, the partners they worked with, and why they wanted to take on the daunting task of creating guidebooks for the museum of the future.
PRIYA FRANK: Jason, I don’t know about you but publishing my first book was intense! And so rewarding. Why did you want to do your book?
JASON PORTER: The idea for Museum Education for Today’s Audiences: Meeting Expectations with New Models came all the way back in 2016 during a phone call I had with my co-editor, Mary Kay Cunningham, when I lived in San Diego. We were both working closely with teams of museum educators and grappling with the challenges of training educators in the myriad ways we wanted them prepared to lead groups, hold space for difficult conversations about topics such as race and decolonization, and meet the needs of diverse learners. It had been more than a decade since a similar book of techniques, tools, and methodology had been published about museum education, so we thought it was time for a new one.
Our focus for this book was primarily on how current visitor needs and interests have shifted our thinking about creating programs, training staff, employing technology, serving diverse audiences, the labor of museum work, and evaluation. We sought out museum educators who had experiences in multiple disciplines, represented locations across the country, and served at various levels of responsibility and leadership to think about how their current practice reflected current audience needs. We invited these practitioners to share practical strategies, program examples, and innovative techniques that would provide museum educators with provocative ideas, resources, and tools to improve their work with audiences.
Phew! OK, tell me about why you wanted to do your book.
PF: I did it because I never imagined myself doing it. I didn’t know anyone else that had edited a book before, and it was something that scared and thrilled me at the same time. When Theresa Sotto (my co-editor) told me about the project and asked me to co-edit this book with her, I couldn’t say no! To have two women of color, daughters of immigrants, at the helm of something so potentially powerful was a draw that I couldn’t refuse. Also the field of equity, diversity, and inclusion obviously exploded over the last few years, and as a practitioner I wanted to capture this moment and recognize the work and people that are paving the way for museums of the future. That’s how From Small Wins to Sweeping Change: Working Together to Foster Equity, Inclusion, and Antiracism in Museums came to be.
But let’s get into the stuff they don’t tell you when you write your first book. What were some of the challenges in being a first-time editor or in editing this book during such turbulent times?
JP: I think the biggest challenge was time: having a full-time job, a family, being politically active, supporting friends and family during the stress of the pandemic, all of which had to be balanced with the required “butt in seat” time I need to read the chapters over and over again, communicate with authors and editors, and write two chapters ourselves. It was difficult at times. Plus, we had engaged (and gotten commitments from) authors in January 2020, so when the pandemic went into full swing, we had a number of people who’d lost their jobs or had to move home to take care of family members, and others who felt the topic of their initial article was likely to not be relevant to readers with museums closed and all sorts of programming on hold. Thankfully, we had a lot of support from our own families and from our authors, who found ways to pivot, graciously received our feedback, and met deadlines (mostly!) so we could pull the book together. But I think I will probably never do it again! What about you, what were your challenges?
PF: Saying yes to something you have never done before means you don’t know what you don’t know…until you are in it! One of the most difficult parts was realizing the inequities that are so entrenched in the publishing world. The amount of hours, labor, expertise, money, blood, sweat, and so many tears in trying to figure out how to do this without much support was disheartening. But it forced Theresa and I to figure it out, take on what we could, let go of what we couldn’t control and take it step by step. It brought us closer, and she will forever be someone that I treasure and hold as a dear mentor and friend.
JP: OK, back to the fun stuff. What topics or subjects were addressed in the book that you feel are highlights of the project?
PF: Gosh, I feel so connected to each section of the book in a different way, for different reasons. But the way in which we organized it feels like there’s a little something for everyone, and although museums are the focus, we intentionally wanted to make it accessible for folx working in other fields to also be able to find value in it as well. When we went through all of the proposals, the book began to organically emerge because we ended up with proposals that related to five different areas, and that’s how we organized the book. I think what’s beautiful is that this book offers a range of learning about how different groups have approached their DEAI work and how it’s truly the small steps that lead to big change. And we centered the voices of BIPOC museum professionals, which has not been done before. Because we are the ones most often catalyzing real change!
What were the highlights for you?
JP: The field of museum education is reckoning with how to remain relevant in light of rapidly shifting demographics of audiences, competing leisure-time activities, and the expansion of virtual learning formats and digital tools. Perhaps more importantly, as institutions that people trust to tell the truth, we feel called to create learning experiences that acknowledge and respond to the urgent issues of our times—racial justice, climate change, migration, issues of equity and access—and to use our established collections and formats to do so.
Some of the ways these ideas are addressed in our book include Melanie Adams’s and Kayleigh Bryant-Greenwell’s chapter about Critical Race Theory as a guidepost for museum programming. The chapter offers an approach for educators working with communities and wondering how to make museum work relevant and centered in lived experiences for BIPOC audiences. Similarly, Teresa Valencia’s chapter makes a case for cultural competency as a central museum education tool in working with communities. Beth Redmond-Jones’ chapter touches on issues of museum access for neurodivergent visitors, and Jayatri Das’s and Mikey Maley’s chapter provides a variety of ways for educators to think about brain science and learning in creating museum programs.
Ultimately, the ways we educate within and beyond the museum setting have evolved in response to knowledge of how our audience learns, human development, and societal transformation. Museum education is no longer monolithic, with a typical tour or classroom activity as the sole methodology that facilitators use to engage visitors. Our book tried to grapple with many issues that reflect a field in transition and start the conversation among educators about how they can incorporate these ideas in their own settings.
I think a lot of this will relate to my next question… In 2020, lots of museums made commitments toward racial justice and Black Lives Matter. How did your book respond to this and the other crises in the field?
PF: I feel like this book is almost like a time capsule of what has happened over the last few years in terms of equity work in museums. Many of the stories told were things that were in place prior to 2020 but were activated and grown after summer 2020. And it’s fascinating to see the approaches that different museums took and the care with which staff mobilized from all positions of power in an effort to make change happen from where they were. That is reflected throughout the book and is represented through efforts written about by the Discovery Museum, the Pacific Science Center here in Seattle, and the National Gallery of Art. The book also recognizes the challenges of this time, the tensions of power dynamics, structural and institutional inequities that can slow growth and progress, and the toll that it has taken for the staff that are taking on this work, many of them being BIPOC staff (this book is 60% BIPOC authorship).
What about you?
JP: Because of the timing of our book’s publication schedule, we were in the writing stages with authors at the beginning of the pandemic and into the summer of 2020. We had some difficult conversations during that summer about whether we should pull the plug on the project completely, ask for an extension to reevaluate the chapter topics, or simply press on. We wound up making the case to the publisher that we needed to give the authors more time to incorporate what was happening in the world into their chapters. Many were already talking about racial justice, but after that summer, the role of museum work having a role in anti-racism emerged more pronounced in their chapters. Additionally, many authors pivoted toward talking more about the digital techniques they were using during the pandemic to remain connected to their audiences and about the labor and equity issues that educators were facing as museums made financially-based decisions to cut or furlough staff.
Now with the book published, I’m thinking about how the experience of working on this book will influence our work at SAM. What do you think?
PF: It’s incredible to see how it already is! The beauty of being a co-editor is reading each chapter multiple times over so the lessons stick with me. When I’m thinking through a situation I’m struggling with, inevitably my mind comes back to the book and the thoughtful ways that the authors are doing the work from where they are. I also now have a powerful built-in network of change-makers in museums all over the country! That is truly priceless. We might all have different approaches, but our values align. I’m also fortunate that the book is a platform and tool to start accessible conversations about what equity work tangibly looks like.
How about you? How do you think your experience will impact your work here?
JP: The best part of being an editor for a group of authors is that you spend a lot of time immersed in their ideas. Like any other reader of this book, I was provoked by the authors’ ideas to reflect on my own practice and question my own thinking about museum education. For example, there’s a chapter about a partnership between an art museum and a medical school which has inspired me to think about ways that SAM might serve trainees in health care fields as well as a chapter encouraging educators to think expansively about professional development, which has provided me with a number of ideas that I try and implement with my team. Mostly though, and I say this with humility, the experience of working on a project like this (similar to any public sharing of your work or your ideas) can boost your confidence and provide you with the sense of accomplishment that can buoy you in the midst of your imposter syndrome or the tough moments when you feel stymied. I keep a copy of the book on my shelf, not to show it off during Zoom calls (okay, not ONLY to show it off during Zoom calls!), but to remind me that someone thought enough of my knowledge of this work to support me in writing a book about it, so I must know something! And at SAM, where everyone works so hard and so passionately, it’s nice to have something tangible to put my hands on when I could be wringing them in exasperation, to remind me that I, too, have something to say.
One sunny Saturday in June, the Seattle Art Museum’s Chase Open Studio, which has been mostly closed for the past two years due to COVID-19 safety precautions, sprung to life. Convivial sounds echoed in the hall, people greeted each other exuberantly, the marble staircase produced perfect clacking noises as tiny, shiny shoes jumped down them, and photographer Holli Margell made gentle coos to get the attention of little models and their family members.
The scene was a photoshoot celebrating Seattle-area tribal communities and urban Indian communities. More than 70 mothers, sisters, daughters, aunts, grandmas, and children came from near and far to sit for a portrait. The models dressed in a variety of clothing from traditional regalia to a t-shirt and jeans. Some posed alone while others gathered in multi-generational groups of as many as 10.
These stunning portraits of Native women and youth will be integrated by Apsáalooke artist Wendy Red Star into a commissioned artwork for American Art: The Stories We Carry, SAM’s updated American art collection opening on October 20. The reinstallation expands the vision of how art depicts the American experience, with Wendy Red Star’s artwork serving as a welcome to visitors at the entrance of the American art galleries.
“At the core of Wendy Red Star’s artistic process is engagement and community,” says Barbara Brotherton, SAM’s Curator of Native American Art. “She foregrounds the voices of others as a means of revealing the complexity of Native identity.”
This shoot, and the examination of the definition of American art, are examples of SAM’s equity goals in action. SAM relies on its collection, exhibitions, and artists to reflect its institutional values of fostering equity and inclusion throughout the museum and its local community.
“At Wendy’s photoshoot, the Seattle Art Museum came alive with people sharing their stories—where they come from, who their ancestors were, special things about what their families are involved with,” says Brotherton. “It felt like a moment of connecting and healing after the long, challenging time of the pandemic.”
– Kat Bryant Flaherty, SAM Director of Marketing & Communications
This article first appeared in the October 2022 through January 2023 article of SAM Magazine. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks.
Every year, SAM and the Betty Bowen Committee give the Betty Bowen Award, a juried award that comes with an unrestricted cash award of $15,000 and a solo exhibition at SAM. The award was founded in 1977 to continue the legacy of local arts advocate and supporter Betty Bowen and honors a Northwest artist (from Washington, Oregon, or Idaho) for their original, exceptional, and compelling work. In addition, two Special Recognition Awards in the amount of $2,500 and three Special Commendation Awards in the amount of $1,250 will be awarded by the Betty Bowen Committee.
Recent winners include Anthony White (2021; his work is now on view at SAM), Dawn Cerny (2020), and Lynne Siefert (2019); the 2016 winner, Wendy Red Star, will have a new commission debut on October 20, 2022 as part of SAM’s exhibition, American Art: The Stories We Carry. The connections between SAM and these exceptional artists from our region continue over the years.
Today, we are announcing the six finalists of the 2022 award who were selected from a pool of 532 applicants. Stay tuned for the announcement of the winner on November 1!
Klara Glosova – Seattle, WA
Made during the pandemic, Glosova’s recent body of work—one example is featured above—comprises introspective paintings that reflect a sense of loneliness, isolation, and a turn inward. Focusing on members of her family who had to cope with the loss of loved ones, her portraits capture a collective sadness, anxiety, and feeling of disconnect. Windows, mirrors, and screens of various kinds demarcate the threshold between the domestic interior and the world at large, while the architectural interiors stand in for the inner lives of those portrayed.
Sam Hamilton – Portland, OR
Hamilton’s current project, Te Moana Meridian, is an experimental opera that doubles as a genuine proposal to the general assembly of the United Nations: to relocate the Prime Meridian from its current location outside Greenwich, England, to its antipodean coordinates in the South Pacific Ocean. The work is conceived as a five-channel video installation with singers performing the proposed text in English and Māori. If realized, the changes proposed by this work would replace the vestiges of colonial supremacy that marked the United Kingdom as the universal center of time and space, with a new measure for global equity.
Tim Hutchings – Beaverton, OR
In Hutchings work, play and poetry are actualized through systems of gameplay. Hutchings creates intricate and imaginative games and exercises that exist at the intersection of visual art and game-centric dynamism, often disguised as something else entirely, such as a book or a journal. The resulting installations command engagement and interaction, prompting the viewer-turned-participant to reflect on collective memory, loss, and shared emotional experiences.
Elizabeth Malaska – Portland, OR
Malaska’s psychologically probing paintings explore and rupture the traditional gender hierarchies in Western art. In her revisionist undertaking, she cites visual elements from depictions of women in past and more recent painting, assembling them in new ways. In doing so, Malaska activates these histories and implied patriarchal hierarchies, to question their validity and propose more complex and potent feminine subjects.
Rafael Soldi – Seattle, WA
Soldi uncovers the ways in which aspects of identity, particularly queerness and masculinity, interact with normative sociopolitical structures and adolescent rituals, particularly in Latin American societies. Soldi’s most recent work, CARGAMONTÓN, is a series of photogravures depicting the adolescent roughhousing that is at once violent and homoerotic, reflecting on his own experiences as a youth growing up in Peru.
Ric’kisha Taylor – Seattle, WA
Taylor’s rich assemblage works draw on music videos, history, performance, fashion, and news articles as well as adult magazines. Rich and seductive in color, pattern, and materials, with a particular interest in textiles, her work draws the viewer close. Her subjects vogue and vamp, but grotesque distortions disrupt their easy consumption. The resulting collage works expose and challenge the sexualized stereotypes of Black bodies in popular culture and the media.
– Rachel Eggers, SAM Associate Director of Public Relations
The first time I came to the Seattle Art Museum was in 2020. I was just starting my Master’s program at the University of Washington and I was missing home more than ever before. The first time I walked through Cosmic Beings in Mesoamerican and Andean Art, I was looking for home. That searching is what guided me to apply for the Emerging Arts Leader Internship—I wanted to help to create a bit of home for myself and other Latin Americans when they visit the Seattle Art Museum.
From the very start of my internship, I knew I wanted to bring contemporary art and music into the space to reinvigorate the gallery. Ancient art often feels far away from contemporary life, particularly for those from a diverse community that has lived through several colonizations, displacements, and major transformations.
One of the biggest questions I had in starting this internship was scale—how much could I reasonably do over two months? Having worked in museums and non-profits now for over 7 years I know how important this question is. I had and continue to have a lot of ideas for the space, but I am very conscious of being one person that can only do so much. The initial part of my internship was spent getting to know the Seattle Art Museum and dreaming up what can be done, what has been done, and what is possible.
Eventually, and with a lot of help from my supervisors Pam McClusky, Barbara Brotherton, and Ramzy Lakos, we scaled my project to focus on one artwork in Cosmic Beings in Mesoamerican and Andean Art. I chose a Mayan work,Relief Panels (Door Reveals) (ca. AD 550-950), because it is positioned at the center of the exhibition. Originally being a lintel (a horizontal support in a doorway), it would have been one of the first artworks someone would have seen when entering a palace or temple. Around this one work, I developed a smartphone tour, a verbal description, an in-gallery presentation, a new wall label, and educational resources for the piece.It was important to me to create and explore a variety of different ways for visitors and staff and to connect with the work and show how ancient artworks can be activated.
An important part of developing this interpretive content for Relief Panels (Door Reveals) was consulting with other experts. Mary Miller, Meghan Rubenstein, and Virginia Miller were invaluable in the help and enthusiasm they provided. For the smartphone tour’s music, I brought in Juan Francisco Cristobal, my friend, former colleague, and Q’anjob’al Maya UCLA Ethnomusicology doctoral candidate. I also selected two paintings from the Arte Maya Tz’utuhil collection, available online as part of the Latin American Cultural Center’s Maya Spirituality: Indigenous Paintings 1957–2020exhibition.
Another key part of my research was conducting an expansive review of work in the Northern Maya area during the Late Classic Period in topics varying from architecture to ethnobotany. There were a lot of moving parts in this project and learning how to balance everything was an interesting challenge that I would not have been able to do without the support of SAM staff.
The opportunity to engage with an artwork that is a part of my heritage has been one of the most meaningful experiences of my internship. Hope, pride, identity, memory, and healing are just a few words that come up for me; they are integral ideas that underlie everything I created. I hope that I made my community and family proud, and that the content I developed for Relief Panels (Door Reveals) can serve as a bridge to inspire all of SAM’s visitors. I hope everyone visits Cosmic Beings and spends time with its art, engages with the smartphone tour, and considers how the art connects to the thriving Latin American community today.
– Lena Ishel Rodriguez, SAM Emerging Arts Leader Intern
In July, the Seattle arts community lost an influential leader, dedicated arts advocate, and SAM Honorary Trustee, Thomas Walker Barwick (1929–2022). For almost 50 years, Tom was a generous supporter within the SAM family, joining as a member in the 1970s and serving as a Trustee since 1992. From his leadership in founding SAM’s American art program to his continuous wise counsel, Tom’s unshakable commitment transformed SAM into the institution it is today.
As a prominent collector in American art, Tom approached his collection with a scholarly passion and an instinct for the extraordinary. Alongside his late wife Ann, he spent half a century acquiring seminal works from 19th and early 20th century American artists. Together, the Barwicks were a pioneering force, always eager and determined to connect Seattle and SAM with great art.
Tom was instrumental in the acquisition of some of SAM’s most iconic American works, including Raphaelle Peale’s Still Life with Strawberries and Ostrich Egg Cup and Albert Bierstadt’s stunning landscape Puget Sound on the Pacific Coast. In 2007, Tom solidified American art’s legacy at SAM for years to come by endowing the program’s curatorship as the Ann M. Barwick Curator of American Art.
“Tom’s passion for and dedication to American art was a driving force behind the formation of SAM’s American art program,” said Theresa Papanikolas, SAM Ann M. Barwick Curator of American Art. “He had a remarkable ability to connect people with the artists he loved. His eye for quality and significance was keen, and his personal art collection is exquisite. Tom was a great friend to the museum, and his legacy lives on in our continued commitment to American art.”
With endless enthusiasm and remarkable generosity, Tom uplifted our community with the art that inspired him. We are forever grateful.
Welcome to Noticed, in which we spot connections among, within, and without the walls of the museum.
The last few years in Seattle, it’s been the talk of gardeners, naturalists, parkgoers, and urban dog walkers alike: What’s up with all these rabbits everywhere?
That question was also the headline of a recent feature in the Seattle Times’ Pacific NW Magazine, in which reporter Brendan Kiley investigated the seeming population boom across Western Washington of the Sylvilagus floridanus, or Eastern cottontail rabbit. His journey brought him to the domain of one very special rabbit: King Bunny.
That’s the name given by SAM staff to a particularly large, healthy, and seemingly prolific rabbit who resides in the Olympic Sculpture Park with his many friends and offspring. Kiley spoke with SAM’s Facilities and Landscapes Manager, Bobby McCullough, about King Bunny and Co.’s frolics around the nine-acre sculpture park, where they chomp on grass and clover, attempt to avoid predators and excited leashed dogs, and, we hope, enjoy the monumental sculptures that fill their home. King Bunny can be tough to spot, so don’t miss SAM’s latest installment of “Botany with Bobby,” our TikTok series exploring the sculpture park, in which Bobby tracks his friend down for all of us to see. McCullough also shared his perspective on what to do—if anything—about their increased presence.
“The park’s S. floridanus population has spiked in the past three or so years, McCullough says, and bunny-noticers have divergent attitudes. Some feel protective, calling for a gardener to ‘Do something!’ if they find a rabbit half-chewed by a raptor. Others regard the critters as a problem, suggesting McCullough set out traps and poison bait. ‘As long as I’m working here, that won’t happen,’ he says. ‘I get more joy from seeing them sunning themselves on the grass than frustration at chewed-down fern fronds.’”
McCullough’s live-and-let-live approach to the rabbits must have had an effect, because once we started seeing bunnies around the sculpture park, we noticed that they were simply…everywhere. Back indoors at the Seattle Art Museum, local artist Anthony White celebrates his Betty Bowen Award win with his solo exhibition, Limited Liability. The artist is known for his densely packed compositions that he painstakingly “paints” with PLA (a melted biodegradable plastic, primarily used for 3D printing). Crammed with recognizable products, name-brand logos, and digital logos, they pull you down the rabbit hole of our increasingly intertwined analog and digital lives. They’re also a few literal rabbits dotting these Y2K-nostalgia landscapes: a self-portrait of the artist in the all-too-familiar pose of gazing at a smartphone screen in bed includes a number of bunnies hopping around his aura like phantoms; up above is a ransom-note scrawl saying, “SILLY RABBIT, YOUR IPHONE STORAGE IS FULL.” And the smallest painting in the exhibition hangs above them all at the entrance like an idol: An Energizer Bunny seen behind a cracked cell phone screen, questioning the relentless pursuits of capitalism.
Of course, bunnies aren’t always harbingers of doom. Kiley’s story also notes the diverse cultural meanings of rabbits: “Old stories characterize the rabbit as arrogant (Greece), cowardly (Tibet), a great warrior (China), tricky (lots of places) and prototypical prey (lots of other places).” He notes their association with fertility in early Christian Europe and their appearance as a resilient “catch-me-if-you-can” figure in Puget Sound stories of Snoqualmie, Puyallup, Muckleshoot and other traditions. SAM’s global collection is a veritable rabbit hunt; one work on view right now at the Seattle Asian Art Museum is a beloved late 19th-century Japanese netsuke of an ivory hare (we know, it’s technically a different species, just go with it) with real amber eyes. Barely an inch all around, it’s a noticeably smaller presence than King Bunny, and it’s not as difficult to spot as it’s protected in a glass case, but in its tiny form and glittering eyes it makes a charming and surprisingly powerful impact. We think it’s wise to keep a close eye… just in case.
– Rachel Eggers, SAM Associate Director of Public Relations
Images: Installation view of HYPNOSIS (detail) as part of Anthony White: Limited Liability at the Seattle Art Museum, 2022, Photo: Alborz Kamalizad. Netsuke modeled as a hare with amber eyes, Japanese, late 19th century, ivory, amber, 1 1/16 x 7/8 x 1 1/8 in., Duncan MacTavish Fuller Memorial Collection, 33.438, Photo: Elizabeth Mann.
