#SAMSnippets: Native Art and Life Along the Northwest Coast

Introducing #SAMSnippets! We recently launched a new live series on our Instagram which gives followers an in-depth look at works from SAM’s permanent and semi-permanent installations virtually. Each month, we’ll choose a new gallery to walk viewers through, providing a taste of SAM from wherever you may be!

To kick off the series this November, we featured a diverse collection of artworks from “Native Art and Life Along the Northwest Coast” in celebration of National Native American Heritage Month. Watch the video now to get a peek at what’s on view at SAM now and read about the works shown in this video below. Visit SAM now to see all of the featured works and more in-person!

Masks Right to Left: Deer Mask, Owl Mask, Wolf Mask, Bukwus Mask (Wild Man of the Woods), Raccoon Mask, Cod Fish Mask, Mouse Woman Mask, Grizzly Bear Mask, Bukwus Mask (Wild Man of the Woods), Kingfisher Mask, Porcupine Mask, Otter Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Gifts of the Pacific Science Center. Photo: Natali Wiseman.

Masks of the Animal Kingdom Dance

As we enter the galleries on this short walkthrough you’ll see an installation of masks arranged on platform. Performances featuring masked dancers are birthright of particular families and derive from long-ago auspicious encounters between human ancestors and supernatural beings, in the guise of animals or unique spirits. The “Dance of the Animal Kingdom” represents a heroine ancestor’s adventures among the animal beings, who in turn bestow the dance and masks upon her for use by her family and subsequent generations.

According to Chief Bill Scow (1902–1984), the Animal Kingdom story took place at Shoal Harbor (Gilford Island, British Columbia) where in the distant past a girl went looking in the woods for her lost brother. She instead encountered a dance of animal beings inside a cave. The messenger of the animals, Mouse Woman, was sent to see if there was indeed an intruder. Because the girl was able to overcome the supernatural power present in the animal dance, she was allowed to witness it and to bring to her people the privilege of performing it. The masks shown here were carved by artist Sam Johnson (1930–2007) for the opening ceremonies of the Seamonster House at the Pacific Science Center in 1971.

Mouse Woman Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, cotton cloth, and leather, 11 x 9 1/2 x 9 in. (27.94 x 24.13 x 22.86 cm), Gift of the Pacific Science Center, SC2006.8.

As we pan across the arrangement, keep an eye out for Deer, the “curious one,” recognizable by its antlers. You’ll also see Owl, called the “Wise One” perhaps because its large eyes see deeply into the real and spirit worlds. Its distinctive markings, rotating head and binocular vision, put the owl in the pantheon of auspicious creatures. George Hunt (1854–1933), a knowledgeable First Nations consultant to anthropologist Franz Boas, recorded that some Kwakwaka’wakw believed that after death man becomes an owl.

According to Bill Scow, one of the heirs of the Animal Kingdom privilege, Wolf was the leader of the animals and would call them out one-by-one to pantomime the characteristics of each creature. After all the animals had danced in sequence, they would dance together as a group for the finale.

Raccoon, as keeper of the fire, would have been in charge of illuminating the sacred cave where the Animal Kingdom Dance first took place.

Because of her speed and sharp mind, Mouse Woman is sent out to make sure no one is watching the secret dance of the animals. In the story, she befriends the girl and tells the others that no one is watching. In time, the girl is allowed to observe and to take the supernatural treasure of the dance and masks back to her family.

Grizzly Bear is the “fierce one” and can be identified by his upright ears, large snout, and moveable jaw.

The presence of Bukwus in the Animal Kingdom Dance may be a reference to the lost brother that the girl was seeking. Bukwus are feared ghost-like creatures believed to represent humans who have become separated from their community and wander the woods. In the story, the brother loses his human identity and becomes a Bukwus.

Kingfisher is said to be the assistant to Wolf, the leader of the animals. In the wild, they are stocky birds with a shaggy blue crest who fly quickly over rivers and shorelines looking for fish. Their rattling cry and expert diving abilities make them special and mysterious creatures.

Seated Human Figure Bowl, pre-1800, Coast Salish, Soapstone, 14 3/4 x 4 5/16 x 7 5/16 in. (37.5 x 11 x 18.5 cm), Gift of John H. Hauberg, 83.223.

Now we turn to historic and contemporary works created by Native peoples across the Northwest Coast. The first work in this collection, Seated Human Figure Bowl, portrays a skeletal humanoid figure cradling a bowl in its lap, with its arms and legs encircling the bowl. Three distinct snake images are carved downward from the head, resembling a headdress with two footprints on top. Bowls such as these, carved from stone, wood, and horn, are often used by Coast Salish peoples in rituals of healing and protection.

Next to the bowl sits a Sxwaixwe Carving. The unusual being depicted in this carving is used in Coast Salish communities to bless and protect people in life crisis events, such as sickness and death. Only the right person with the right to use the masks would know its deeper meanings. This small carving might have once been the finial of a rattle or the top of a staff.

Skull Rattles (Xawikw Yadan), ca. 1890, Kwakwaka’wakw, Alder wood, red cedar bark, paint, Gift of John H. Hauberg, 91.1.86.1.

Also in this collection, we see two Skull Rattles. The imagery of these two works reveals the death-and-rebirth aspect of initiation into the t’seka or Winter Ceremonial whereby acolytes are temporarily imbued with supernatural power then restored by attendants who shake rattles to tame the wild behavior of the initiate. The subdued initiate is reborn with greater status and connection to spiritual power.

Halibut—giant flatfish that can weigh one hundred pounds or more—were traditionally caught in Tlingit and Kaigani Haida communities from cedar canoes using special barbed hooks. Fishermen used imagery that referenced the help of a shaman. This Halibut Hook (Naxw) which is then panned to represents a human figure with animal-like feet biting an octopus tentacle. The octopus appears frequently on shaman charms and is considered to be a supernaturally powerful being.

The importance of shamans, called halait, as powerful spirits which aid in combatting sickness and soul loss in Native communities along the Northwest is reiterated in the next work featured in the video, Soul Catcher (Am’halait). This special amulet of bone, abalone shell, and buckskin is a container that was manipulated while the shaman was in a trance, in order to locate and retrieve the wandering or bewitched soul of a person, thus restoring their health.

Small carved shaman figures such as the one which is next panned to, represent spirit helpers and were part of the myriad curing paraphernalia employed to purge ill persons of evil spirits. Objects such as these would protect the shaman against supernatural enemies while completing his healing duties.

Xoots Kudás (Bear Shirt), ca. 1890, Tlingit, Tekweidí clan, Commercial wool cloth, cotton cloth, imported mother-of-pearl buttons, applique, synthetic indigo dye, 41.5 x 57 in. (101.6 x 144.78 cm), Gift of John H. Hauberg, 91.1.80.

To the right of this shaman figure, we see a venerable ceremonial garment. Xoots Kudás displays a bear on one side and a stylized design of bull kelp on the other, both crests of the Tlingit clan. The crests are held communally and symbolize ancestral encounters with supernatural beings. Such regalia is considered to be at.óow (“an owned or purchased object acquired through an ancestor”), one of many traditional art works brought out on ceremonial occasions to signify the connection between the ancestors and the living.

Leaving the glass case of Northwest Native works, we pan to two pedestals with works highlighting the importance of Raven in Tlingit communities. The first, Raven at the Headwaters of Nass Hat (Naas shagi Yeil S’aaxw) was used in Alaska to comfort those in mourning. Clan hats are the ultimate expression of complex shared histories and are featured prominently in potlatches. When the song associated with the hat was sung, the host family and guests—ritually dressed in headgear and robes—would dance in remembrance of their loved ones.

The second work is a stunning combination of maple, mirror, abalone shell, bird skin, paint, sea lion whiskers, copper, leather, and Flicker feathers. According to myth, the distinguished natural features of Tlingit homelands can be attributed to Raven. Lkaayaak Yeil S’aaxw (Box of Daylight Raven Hat) depicts the wily Raven in the act of releasing the sun, moon, and stars from his grandfather’s box, which the legendary bird clutches in his human-like hands.

Keet Shagoon (Killer Whale), Preston Singletary, ca. 2003, American, Tlingit, born 1963, Fused and sand carved glass, 72 x 92 x 3/8 in. (182.9 x 233.7 x 1cm), Purchased in honor of John H. Hauberg with funds from the Mark Tobey Estate Fund, John and Joyce Price, the Native American Art Support Fund, Don W. Axworthy, Jeffrey and Susan Brotman, Marshall Hatch, C. Calvert Knudsen, Christine and Assen Nicolov, Charles and Gayle Pancerzewski, Sam and Gladys Rubinstein, SAM Docents, SAMS Supporters, Frederick and Susan Titcomb, and Virginia and Bagley Wright, 2003.12.

Behind these pedestals, we see Keet Shagoon (Killer Whale) by Tlingit artist Preston Singletary. Growing up in west coast cities and trained in European glass techniques and practice, Singletary began incorporating Native Iconography into his work in 1987, explaining: “I found a source of strength and power [in Tlingit designs] that brought me back to my family, society, and cultural roots.” In this, his first monumental work, the artist studied the house screen in this gallery, fusing his clan Killer Whale crest into sixteen panels, thus recharging an ancient tradition and bringing the past forward. Learn more about this artwork featured in SAM’s Object of the Week series.

Canoe Breaker: Southeast Wind’s Brother, Robert Davidson, ca. 2010, Canadian, Haida, Masset Village, born 1946, Acrylic on canvas, 60 × 40 in. (152.4 × 101.6cm), Gift of The MacRae Foundation, the Native Arts of the Americas and Oceania Council, and Ancient and Native American Art Acquisition Fund, 2013.35.

The tour concludes with Robert Davidson’s Canoe Breaker: Southeast Wind’s Brother. According to Haida oral traditions, Canoe Breaker is one of ten brothers of Southeast Wind, who is responsible for the turbulent weather on Haida Gwaii. You can learn more about the story behind Canoe Breaker in this highlight as SAM’s Object of the Week.

“Southeast Wind is in the form of a killer whale. The [white] ovoid actually separates the lower teeth from the upper teeth in the mouth. And the top shape would be the tail and this U-shape could be the pectoral fin and dorsal fin. When you see the killer whale in their world we see them as killer whales but when…they go into their dwelling [below the sea] they will take off their skins and hang it near the door..so that’s why…human attributes [are] mixed in with what a killer whale looks like.”

– Robert Davidson

– Lily Hansen, SAM Marketing Content Creator

Video Artworks: Deer Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, antler, paint, cloth, 14 1/2 x 9 1/2 x 9 3/4 in. (36.83 x 24.13 x 24.77 cm), Gift of the Pacific Science Center, SC2006.7. Owl Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Wood with enamel paint, 12 x 9 1/2 x 10 in. (30.48 x 24.13 x 25.4 cm), Gift of the Pacific Science Center, SC2006.5. Wolf Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, and cloth, 8 x 8 1/8 in. (20.32 x 20.64 cm) L.: 20 3/4 in., Gift of the Pacific Science Center, SC2006.10. Bukwus Mask (Wild Man of the Woods), Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, Overall: 12 x 11 1/2 x 8 1/2 in. (30.5 x 29.2 x 21.6cm), Gift of the Pacific Science Center, SC2006.12. Raccoon Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, and cotton cloth, 12 1/2 x 9 x 9 13/16 in. (31.75 x 22.86 x 24.96 cm), Gift of the Pacific Science Center, SC2006.9. Cod Fish Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 12 3/4 x 9 1/8 x 9 1/2 in. (32.39 x 23.18 x 24.13 cm), Gift of the Pacific Science Center, SC2006.1. Mouse Woman Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, cotton cloth, and leather, 11 x 9 1/2 x 9 in. (27.94 x 24.13 x 22.86 cm), Gift of the Pacific Science Center, SC2006.8. Grizzly Bear Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 9 1/8 x 8 in. (23.18 x 20.32 cm) L.: 15 3/4 in., Gift of the Pacific Science Center, SC2006.6. Bukwus Mask (Wild Man of the Woods), Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 12 x 9 1/4 in. (30.48 x 23.5 cm) , Gift of the Pacific Science Center, SC2006.2. Kingfisher Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, 8 1/4 x 9 in. (20.96 x 22.86 cm) L.: 11 in., Gift of the Pacific Science Center, SC2006.4. Porcupine Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 11 1/4 x 9 11/16 x 10 in. (28.58 x 24.57 x 25.4 cm), Gift of the Pacific Science Center, SC2006.3. Otter Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, Overall: 6 1/2 x 8in. (16.5 x 20.3cm) Length: 16in. (40.6cm), Gift of the Pacific Science Center, SC2006.11. Seated Human Figure Bowl, pre-1800, Coast Salish, Soapstone, 14 3/4 x 4 5/16 x 7 5/16 in. (37.5 x 11 x 18.5 cm), Gift of John H. Hauberg, 83.223. Stone Mortar, pre-1800, Salish, Granite, 10 x 5 3/4 x 4 3/4 in. (25.4 x 14.61 x 12.07 cm), Gift of John H. Hauberg, 91.1.136. Eagle and Salmon, Manuel Salazar, 2007, Canadian, Cowichan, born 1966, Deer hide, acrylic paint, Diam.: 20in. (50.8cm), Gift of Doug and Thelma McTavish, 2008.49. Sxwaixwe Carving, ca. 1880, Coast Salish, Wood, Mountain goat horn, mountain sheep horn, cow horn, copper, 5 1/2 x 2 in. (13.97 x 5.08 cm), Gift of John H. Hauberg, 91.1.140. Drum with Skull Painting, Susan Point, 1991, Musqueam, Canadian, Born 1951, Animal hide, acrylic, wood, bone, 17 x 3 in. (43.2 x 7.6 cm), Gift of Simon Ottenberg, in honor of the 75th Anniversary of the Seattle Art Museum, SC2005.13. Halibut Hook (Naxw), ca. 1890, Tlingit or Kaigani Haida, Yew wood, yellow cedar, iron, cedar bark twine, and commercial cotton twine, 4 5/8 x 1 3/8 in. (11.75 x 3.49 cm) L.: 9 1/2 in., Gift of John H. Hauberg, 91.1.105. Soul Catcher (Am’halait), ca. 1860, Tsimshian, Bone, abalone shell, and buckskin, 1 5/8 x 1 1/8 in. (4.13 x 2.86 cm) L.: 7 3/4 in., Gift of John H. Hauberg, 91.1.83. Shaman Figure, ca. 1860, Tlingit, collected in Sitka in 1869, Yellow cedar wood, human hair, and paint, 14 5/8 x 4 x 3 in. (37.15 x 10.16 x 7.62 cm), Gift of John H. Hauberg, 91.1.119. Xoots Kudás (Bear Shirt), ca. 1890, Tlingit, Tekweidí clan, Commercial wool cloth, cotton cloth, imported mother-of-pearl buttons, applique, synthetic indigo dye, 41.5 x 57 in. (101.6 x 144.78 cm), Gift of John H. Hauberg, 91.1.80. Raven at the Headwaters of Nass Hat (Naas shagi Yeil S’aaxw), ca. 1810, Tlingit, Taku village, Alaska, Gaanax.ádi clan, Maple, paint, shell, hair, baleen, 8 1/2 x 7 x 12 in. (21.59 x 17.78 x 30.48 cm), Gift of John H. Hauberg, 91.1.125. Lkaayaak Yeil S’aaxw (Box of Daylight Raven Hat), ca. 1850, Tlingit, Taku village, Alaska, Gaanax.ádi clan, Maple, mirror, abalone shell, bird skin, paint, sea lion whiskers, copper, leather, Flicker feathers, 11 7/8 x 7 3/4 x 12 1/4 in. (30.2 x 19.7 x 31.1 cm), Gift of John H. Hauberg, 91.1.124. Keet Shagoon (Killer Whale), Preston Singletary, ca. 2003, American, Tlingit, born 1963, Fused and sand carved glass, 72 x 92 x 3/8 in. (182.9 x 233.7 x 1cm), Purchased in honor of John H. Hauberg with funds from the Mark Tobey Estate Fund, John and Joyce Price, the Native American Art Support Fund, Don W. Axworthy, Jeffrey and Susan Brotman, Marshall Hatch, C. Calvert Knudsen, Christine and Assen Nicolov, Charles and Gayle Pancerzewski, Sam and Gladys Rubinstein, SAM Docents, SAMS Supporters, Frederick and Susan Titcomb, and Virginia and Bagley Wright, 2003.12. Canoe Breaker: Southeast Wind’s Brother, Robert Davidson, ca. 2010, Canadian, Haida, Masset Village, born 1946, Acrylic on canvas, 60 × 40 in. (152.4 × 101.6cm), Gift of The MacRae Foundation, the Native Arts of the Americas and Oceania Council, and Ancient and Native American Art Acquisition Fund, 2013.35.

See Imogen Cunningham: A Retrospective for Free!

December 2 is Free First Thursday at Seattle Art Museum and that means free entry into the newly opened Imogen Cunningham: A Retrospective. Get tickets to this free day while you can to attend a free community celebration in the galleries—our first in-person community celebration since reopening!

Get excited for your visit by watching this quick overview about the exhibition with Carrie Dedon, SAM’s Assistant Curator of Modern and Contemporary Art.

Hosted on November 8 as a talk for SAM Members, we’re excited to share this recording of the overview with everyone and offer some context on the important contributions of Imogen Cunningham to photography as an art form over the course of her seven-decade career.

And remember, every First Thursday is free at Seattle Art Museum. Find out more about discounted admission opportunities!

– Lily Hansen, SAM Marketing Content Creator

Image: “Dancer, Mills College,” 1929, Imogen Cunningham, American, 1883–1976, gelatin silver print, 8 9/16 × 7 3/8 in., The J. Paul Getty Museum, Los Angeles, 2006.25.6, © 2021 The Imogen Cunningham Trust.

Behind the Scenes with SAM’s Conservation Team

Every painting, drawing, and sculpture at Seattle Art Museum, Seattle Asian Art Museum, and Olympic Sculpture Park is thoroughly inspected and cleaned by our conservation department before being put on view. These supremely talented individuals are dedicated to maintaining the aesthetic and structural health of SAM’s vast and, in some cases priceless, collections.

Watch this video from Seattle Channel’s Art Zone to get to know the leader behind this department, Jane Lang Davis Chief Conservator, Nicholas Dorman. Nick discusses his upbringing, explains how he ended up at SAM, and walks viewers through how he and his team care for every work of art at all three locations. All the works featured in this video can be seen on view in Frisson: The Richard E. Lang and Jane Lang Davis Collection at SAM through November 27, 2022.

In honor of National Ask a Conservator Day on November 4, we reached out to our Instagram community to see what questions they had for SAM’s conservation team. Nick, along with Senior Objects Conservator Liz Brown and Associate Conservator Geneva Griswold, took the time to answer them and give a bit more insight on their favorite memories at SAM—read their responses below!

What are some of the most time-intensive projects for SAM conservators to tackle?

Liz Brown (LB): Conservation treatments are time-intensive by nature! Small artworks treated in the studio take hundreds of hours to clean, treat, and document. Large, outdoor works such as those at the Olympic Sculpture Park get cleaned once a week, and then receive in-depth treatments, like a refreshed coating, each summer.

SAM Conservator Liz Brown cleans Echo at the Olympic Sculpture Park.

What background, formal education, and training is required to become an art conservator?

Geneva Griswold (GG): Paths into the conservation field can be circuitous, but many of us studied art history, chemistry, or are artists ourselves—conservation combines all of these interests! Formal entry into the field often includes the completion of a three-year graduate degree in art conservation with a specialty in objects, paintings, paper, textiles, books, or works on paper. Additional experience is gained through internships and fellowships.

What is your most cherished memory of working on SAM’s conservation team?

GG: One of my favorite memories is installing Yves St. Laurent: The Perfection of Style because it required teamwork from everyone in the department, plus local conservators who work in private practice, and conservators from France who travelled with exhibition. These collaborations are always the most fun because I learn a lot from my colleagues!

What has been your favorite artwork to restore/preserve while working at SAM?

LB: My favorite object is frequently what I am working on in the moment as each new work presents an opportunity to explore. Right now, I’m investigating cold cathode lights with artist Claude Zervas to prepare his artwork Nooksack for an upcoming exhibition.

SAM Conservator Liz Brown stops to take a photo while investigating cold cathode lights for Claude Zervas’s work Nooksack.

How do you ensure you don’t change an artist’s intent when doing conservation?

Nick Dorman (ND): This important point is the subject of much concern and discussion. Treatments may be discussed with living artists directly, and conservators may collaborate with an artist’s foundation, community members, and others who are close to the work. We carefully research and document all work, and design every treatment to be reversible.

What aspect of conservation is misunderstood or overlooked?

LB: The title “conservation” can cause confusion it is often seen as rooted in a tradition of attempting to keep an object from changing. Sometimes this is a goal, but when considering treatment, we always consider the intangible aspects of the artwork. Thus, in conversations with stakeholders, we are looking to manage, change, and look to how that artwork lives best in a museum.

What is your favorite conservation tool?

LB: This is always changing, but one I come back to all the time is the very simple, yet versatile bamboo skewer. It’s wonderful in that it can be easily shaped to suit a variety of purposes. The wood box my father made for my small tools is also a favorite.

What’s the most interesting attempt you’ve seen a previous owner make to conserve an object? What did you have to do to correct/modify their attempt?

GG: I am currently working on a black lacquer wood sculpture. In areas where the black lacquer is missing, someone has colored the bare wood with a Sharpie marker to hide the unsightly loss. While well intentioned, this will be challenging to remove, if at all possible. Someone also used carpenter’s wood glue to reattach elements of the sculpture, however this type of adhesive has damaged the fragile lacquer. My treatment seeks to remove this adhesive and replace it with a more appropriate choice.

Any strange conservation stories to share?

ND: When I went to Italy in 2006 to research the original location of SAM’s Tiepolo ceiling fresco with former Chief Curator Chiyo Ishikawa, we found what seemed to be a very similar painting on the ceiling of the painting’s original home in Vicenza. The current custodian of the home said, “We have the Tiepolo, I don’t know what you have.” Turns out, we both have the Tiepolo! The surface of the original painting had been removed from the underlying fresco layers and attached to a new canvas support, eventually traveling across the world to grace SAM’s Porcelain Room ceiling. The remaining under-paint was left in place and was eventually retouched by a prominent Italian restorer.

Former SAM conservation tech, Tim Marsden, admires the Tiepolo during conservation.

What advice would you give to someone interested in pursuing a career in art conservation?

GG: Review the American Institute For Conservation and the Emerging Conservator Professional Network for resources. Informational interviews with conservators and conservation students can give a window into what the job entails on a day to day basis. Our roles vary immensely from museum to museum, and from institutional settings to private practice. Find a mentor who can provide sustained guidance—SAM conservators are happy to connect with you, get in touch with us!

– Lily Hansen, SAM Marketing Content Creator

Image: Courtesy of Seattle Channel.

See the Significant Collection of Richard E. Lang and Jane Lang Davis

Behind one of the most significant private collections of Abstract Expressionist and post-war art is a love story for the ages.

It started with a chance meeting between Jane Davis and Richard E. Lang at the Hawai’i Symphony Orchestra. Within a year, the two were married and moved to Seattle. With a shared passion for the arts, Jane and Richard collected abstract works from artists across the United States which they showcased in their modest waterfront home.

Watch this video by the Friday Foundation to see how Jane and Richard’s extensive collection came together and how their legacy lives on in Seattle and its cultural community. Then, see 21 works from their personal collection in Frisson: The Richard E. Lang and Jane Lang Davis Collection at SAM, on view through November 27, 2022. These exceptional artworks now live at SAM thanks to a gift from the Friday Foundation in honor of these local collectors. The recent Lang Collection gift is comprised of 19 outstanding artworks that transform SAM’s holdings of postwar art, making it the most significant collection of its kind in the Pacific Northwest.

– Lily Hansen, SAM Marketing Content Creator

Image: Night Watch, 1960, Lee Krasner, American, 1908–1984, oil on canvas, 70 x 99 in., Seattle Art Museum, Gift of the Friday Foundation in honor of Richard E. Lang and Jane Lang Davis, 2020.14.4 © The Pollock-Krasner Foundation. Photo: Spike Mafford / Zocalo Studios. Courtesy of the Friday Foundation.

Seattle Asian Art Museum: Japanese Collection Tour

The recent restoration and expansion of the Seattle Asian Art Museum presented a special opportunity to completely redesign and reinstall the museum’s galleries. For the inaugural installation, Boundless: Stories of Asian Art, SAM’s Asian art curators collaborated to select outstanding artworks which showcase some of SAM’s most significant holdings of Japanese, Korean, Chinese, and South Asian art.

Thanks to a generous grant from the Atsuhiko & Ina Goodwin Tateuchi Foundation, we were able to record a dedicated tour of the Japanese masterworks featured in the museum. Xiaojin Wu, Atsuhiko & Ina Goodwin Tateuchi Foundation Curator of Japanese & Korean Art, leads this tour, which provides a close look at more than a dozen artworks ranging from a new site-specific contemporary installation to ancient works, including several on view in the Atsuhiko & Ina Goodwin Tateuchi Galleries.

Xiaojin welcomes us to the museum under Kenzan Tsutakawa-Chinn’s Gather, the site-specific light sculpture hanging in the Garden Court, and which metaphorically gathers energy from Isamu Noguchi’s The Black Sun, a sculpture sitting outside the museum.

As she makes her way through the galleries, Xiaojin points out a 10th-century sculpture of Tobatsu Bishamonten, a Buddhist guardian figure. Bishamonten stands on the shoulders of Jiten, the earth goddess, in a representation that takes its form from Shinto sculptures. In a gallery focused on sites of worship, Xiaojin discusses the 18th-century screen, View of Mt. Fuji. Mt. Fuji serves as one of the most significant sites for Buddhist and Shinto pilgrimage in Japan, and this beautiful work paints Mt. Fuji from a famous viewpoint in Miho’s pine forest.

Photo: Elizabeth Mann

An integral element of the reinstallation was the decision to organize galleries by theme rather than by country of origin. One telling example can be found in one of our unique vaulted ceiling galleries: a 12th-century Japanese scroll of the Lotus Sutra is placed beside a page of a blue Quran from Tunisia. These works refer to two very different religions, but both use similar materials: gold and silver on indigo dyed paper or parchment. Placed beside one another, their shared visual quality creates an intriguing juxtaposition.

Near the end of the tour, Xiaojin directs our attention to a work acquired by Seattle Art Museum’s founder Richard Fuller. Inspired by a haniwa warrior on view in Treasures of Japan, an exhibition SAM hosted in 1960, and a designated national treasure in the Tokyo National Museum’s collection, Dr. Fuller acquired a similar haniwa for the museum the following year. He proudly called the Seattle haniwa “the brother of the Tokyo haniwa,” as they were excavated at the same time in the 1930s and from the same place in Ōta city, Gunma Prefecture.

Dr. Fuller and Crown Princess Michiko pose in front of the Seattle Art Museum © Seattle Art Museum.

SAM’s collection of Japanese art is one of the finest outside of Japan and one of the top ten in the United States. The 3,400 objects within the collection include significant examples of painting, sculpture, lacquerware, and folk textiles. Thank you to the Atsuhiko & Ina Goodwin Tateuchi Foundation for making it possible for us to create this video tour which allows SAM to better share this incredible collection of Japanese art with not only museum members and local audiences, but with the larger community and art-enthusiasts from across the globe as well. Visit the Seattle Asian Art Museum now to see all the amazing artworks featured in this video.

– Sarah Michael, SAM Director of Institutional Giving

Celebrate Día de los Muertos with SAM

This year marks the 26th annual celebration of Día de los Muertos (Day of the Dead) at the Seattle Art Museum and its partnership with local Oaxacan artist Fulgencio Lazo. Each year, Fulgencio and his wife, Erin Fanning, gather members of the community, young people, musicians, and other artists to mark this day celebrating the eternal cycle of life and invite all of Seattle to join in.

Kick off the festivities by getting to know the artist behind SAM’s annual tapete installation when you watch the interview above with Fulgencio filmed in his recent gallery show, Estrellas del Norte Al Sur at ArtXchange Gallery. In this body of work, Lazo addresses the universal migration of families from one place to another—with a special focus on children’s experiences. Using synthesized lines and symbols, Lazo aims to highlight the elements of a culture and reveal the essence of what migrants carry within when embarking on their journeys.

“These paintings, produced over the last fourteen months, focus on themes of transformation. My world, like all of humanity’s, has been upended by the global pandemic, humanitarian crises exacerbated by climate change, and massive movements for racial and social justice. This trifecta requires that we transform ourselves and our institutions. As an artist I must visually show what transformation looks like.”

– Fulgencio Lazo

Fulgencio Lazo is an internationally recognized artist whose vibrant abstract paintings and sculptures are an exploration of cultural identity and the power of community. Lazo once again designed and built a tapete (a floor covering made of sand, flowers, feathers, and other materials and illustrated with playful images of death) in our Brotman Forum. It will be available for viewing in the Forum until November 10 and is free to access.

As part of the celebration, La Banda Gozona’s quartet performed in front of the tapete for people on October 30. Check it out!

And no marking of Día de los Muertos would be complete without art making! Longtime local artist Jose Orantes has designed a mask project for you to take home that will be available to pick up for free in the Forum between October 30 and November 10. Show us what you make from the art activity by sharing it online with #YourSAMStories.

In the wake of COVID-19, this year’s celebration will be somewhat different—less about gathering together, dancing, and hanging out with friends and more focused on honoring the memories of those who have passed away. We will also focus on showing gratitude for the caregivers, friends, and families who have ensured that the rest of us have thrived in this difficult time. Take part through these in-person and online activities for everyone to enjoy between October 29 and November 10.

Jason Porter, SAM’s Kayla Skinner Deputy Director for Education and Public Engagement

Photo: Robert Wade

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Generous Support

Lessons from the Institute of Empathy

Empathy—the ability to understand the experience and feelings of others—is a skill that many in the modern world struggle to accurately express. This increasingly common deficiency is known as Empathy Deficit Disorder (EDD).

Enter Lessons from the Institute of Empathy. This immersive exhibition occupying the fourth floor of Seattle Art Museum functions to help visitors awaken their own empathy. Anchored by contemporary artist Saya Woolfalk’s ChimaTek: Virtual Chimeric Space, the exhibition invites you to step outside your normal, routine self and practice your ability to understand others by observing empathic works from our African art collection.

To better understand how Lessons from the Institute of Empathy encourages viewers to practice empathy, hear from Aurelia Wallace, a representative from the Institute. In her 10-minute talk, Wallace walks viewers through the lessons of each work on view. From Jacolby Satterwhite’s colorful animations honoring his late mother and Nick Cave’s avant-garde garments created in response to the murder of Rodney King to gold rings inspired by proverbs from the Ashanti Kingdom and the activism in skirts worn by Ndebele women in South Africa, this video offers the first step in elevating your own empathic capabilities.

Practice exercising empathy by visiting Lessons from the Institute of Empathy at Seattle Art Museum and see the artworks discussed in this video.

Photo: Nathaniel Willson

Asian Art Spotlight: Oiling & Palampore

How do traditions evolve over time? Consider this question as you compare a historical example of a Palampore with Faig Ahmed’s Oiling, both on view at the Seattle Asian Art Museum. Look closely at the intricate patterns, the symmetry (or lack thereof), and the ways in which order and disorder are portrayed in each artwork. What can you learn about the contemporary piece, Oiling, by looking closely at the Palampore?

This video brings together historical and contemporary works of art to show how traditions and modernity interact in our world today. A quick drawing activity offers a way of remotely engaging with the artworks and provides the foundation for a more in-depth art activity inspired by the Palampore in our Eyes on Asia YouTube playlist

The Seattle Asian Art Museum is open again though school tours are not available at this time. Aligned with Washington State learning standards in Visual Art and English Language Arts, the Eyes of Asia video series is meant to connect art lovers of all ages to the museum’s rich collection of art through a variety of virtual experiences and provide opportunity for creative response. Each video can be used in virtual classrooms, at home by parents and caregivers, or by friends hanging out online. Visit the museum in person to see these, and other artworks featured in the series!

Conservation & Color: Monet’s Fishing Boats at Étretat

Take a close look at Monet’s 1885 painting Fishing Boats at Étretat with Nicholas Dorman, SAM’s Jane Lang Davis Chief Conservator. Dorman shares about the canvas, the colors, and the layers of revisions that makes SAM’s single Monet painting sing. As the inspiration for the current Monet at Étretat exhibition at Seattle Art Museum, Fishing Boats at Étretat was closely examined and conserved, revealing much about the context of Monet’s artistic development at this pivotal moment in his career. Learn all about advances in paint and the cumbersome process of plein air painting in 19th-century France in this video.

One of the Monet at Étretat galleries is dedicated to Monet’s process and features an easel similar to one Monet would have used, as well as the backs of two paintings. This demonstrates the physically demanding process Monet embarked on in painting outside, and the materials available to work with at the time. The exhibition features 10 paintings created by Monet and 12 works by other artists of his era, as well as other materials addressing the artist’s engagement with the fishing village of Étretat on the Normandy Coast of France in the mid-1880s. Get your tickets today to see Monet at Étretat on view at Seattle Art Museum through October 17.

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

Advising on The American Struggle: Inye Wokoma

Hear from Inye Wokoma, Seattle-based visual artist, filmmaker, photographer, and community organizer on his experience as part of the advisory committee in the planning of Jacob Lawrence: The American Struggle. SAM works closely with paid community advisors on every special exhibition at the museum. Advisors represent diverse communities and provide vital input on the exhibition planning, programming, marketing, and outreach.

Wokoma has had a long history with the Seattle Art Museum and has been visiting since the museum’s only location was in Volunteer Park, currently the site of our Asian Art Museum. His perspective on how art is presented helped to define the experience of this historic exhibition for all visitors. We are grateful to all the advisors who help make the museum an inclusive and relevant space for all communities. Jacob Lawrence: The American Struggle closes May 23 and has sold out for the run of the exhibition, but we hope videos like this one can bring visitors into the galleries virtually and introduce them to the themes of the exhibition as well as the the process of exhibition planning at SAM.

Lift Every Voice: Responding to Lawrence’s Struggle Series

Jacob Lawrence’s iconic series Struggle: From the History of the American People retells key moments in this country’s early history and centers the underrepresented contributions of Black Americans, Indigenous Americans, and women. Lawrence’s vision is an inspiration to young people today as they reflect on historic times. Created in partnership with South End Stories and Mr Santos Creations, this video features insights from Seattle Public School students, past and present. Delbert Richardson, founder and curator of the American History Traveling Museum: The Unspoken Truths, contextualizes this iconic work of American art and draws connection to our current times, from Crispus Attucks to Black Lives Matter. Jacob Lawrence: The American Struggle is on view through May 23, 2021.

Director

Terrence Jeffrey Santos
Regional Emmy Awardee for Cinematography (2016), The Otherside Documentary Design Director of Video Production, UW Athletics Marketing Department (2010-2015) @filipinxfoodseattle @musangtinos @anaktoykompany @loveandpicnics

Producer/Writer

Donte Felder Donte is the founder and Executive Director at South End Stories (one of our new community partners) where they focus on Trauma-Informed Arts Practice: Healing Through History and Creativity. Donte is a former SPS educator and has been the recipient of WEA’s Humanitarian Award as well as Washington’s Golden Apple Award. Donte comes from a family of seasoned educators and community leaders focused on pursuing social justice by developing anti-racist and anti-oppression practices in schools and communities. southendstories-artsed.com

Speakers

Bayje Felder has been acting since the age of 5. She has starred in productions through Stone Soup Theater, Stage Struck, Columbia City Youth Theater Group, Orca K-8 Drama Program, and South End Stories. Some of Bayje’s favorite roles were as Charlie, in an Orca Drama reboot, Lavendar in Matilda the Musical, and as Hamilton in the Stage Struck Summer Program. Bayje is 13, enjoys soccer, basketball, baking, singing, hanging with her best friends, and playing with her pets Tyson the hedgehog and Kairo the Akita. Bayje’s favorite mottos are “Be yourself because everyone is taken.” And “Live everyday like it’s your last.”

Cece Chan is an activist and educator from Seattle, Washington who uses she/her/hers pronouns. She is a second year student at Pacific Lutheran University where she is the student body president and a double major in Gender, Sexuality, and Race Studies and Communications with a concentration in Media Studies. Her passions include decolonizing and diversifying systems of education, criminal justice, and healthcare. She is recognized for her film, For the Culture: An Ethnic Studies Documentary and her curriculum writing with South End Stories. She is, as she describes herself, an imperfect yet fearless leader.

Savannah Blackwell is a senior at Franklin High School and will attend Howard University in the fall. She has performed all over Seattle including the Moore theater with More Music @ the Moore 2019, the Paramount for their annual fundraiser, and the Benaroya Hall, also in 2019, with IBuildBridges. Savannah has participated in several plays & musicals. Some of her favorite roles have been Alice in Alice In Wonderland, a Doowop girl in Little Shop of Horrors, and Dorothy in The Wiz. Savannah believes in the power of music and arts and is grateful she’s able to use it as a vehicle for change and connection.

Mr. Delbert Richardson is a Community Scholar, Ethnomuseumologist, and Second Generation Storyteller, Owner of Global Unspoken Truths, LLC and President, of the National Awarding Winning American History Traveling Museum: The “Unspoken” Truths. With the use of authentic artifacts, storyboards, and the ancient art of “storytelling,” Mr. Richardson teaches “American History” through an afrocentric lens. His work is broken into four sections: Mother Africa, which focuses on the many contributions by Africans in the area of science, technology engineering, and mathematics (S.T.E.M.); American Chattel Slavery, the brutal treatment and psychological impacts on African Americans of the Diaspora; The Jim Crow era, the racial caste system that focused on the creation and enforcement of legalized segregation; and Still We Rise, which focuses on the many contributions in the Americas and Black inventors/inventions. Mr. Richardson’s work is geared towards K-12 students as well as professional development training for (primarily) white female teachers that make up over 79% of the national teaching force. Diversity, equity, and inclusion training is also a part of Mr. Richardson’s portfolio. Awards: 2013 National Campus Compact Newman Fellow, 2017 National Education Assoc. (NEA) Human and Civil Rights, 2019 Seattle Mayor Arts, 2019 Seattle Crosscut Courage in Culture, 2020 Assoc. of King County Org. (AKCHO) Heritage Education, 2020-2021 National Maquis Who’s Who.

Masterpiece Moments: Five Beautiful Women by Hokusai

Did you know that you can experience art by the famous Japanese artist Katsushika Hokusai at the Seattle Asian Art Museum? Learn all about Hokusai’s Five Beautiful Women, guided by Illsley Ball Nordstrom Director and CEO Amada Cruz. A household name in Japan and known widely worldwide, Hokusai is well regarded for his iconic prints of the Great Wave and Red Fuji. Hokusai enjoyed a prolific 70 year career, during which he created an estimated tens of thousands of woodblock prints. His creative energy and genius can also be found in his paintings, which unlike prints, were not produced in multiples and are more rare, such as this work in our collection.

SAM was selected to participate in the Bank of America ‘Masterpiece Moment’ program—a new series of videos that showcase works of art in the collections of 25 museum partners across the United States. For more than three decades, Bank of America has generously supported a variety of programs at SAM. The Art Conservation program is one major initiative that most recently helped restore Alexander Calder’s The Eagle at the Olympic Sculpture Park. Additionally, the Museums on Us program supports SAM’s ongoing operations and gives their cardholders special access to SAM.

Painted in 1810, Five Beautiful Women features women of different social backgrounds in an intriguing hierarchy and differentiated by their clothing. The garments and accessories prompt us to consider clothing and its relationship to our identity. At the top, a woman in a kimono decorated with an iris design and lavish obi sash is from a high-ranking warrior family. Below her, a young woman from a wealthy merchant family wears a shibori tie-dyed kimono and is practicing flower arrangement. In a black kimono with floral designs and butterfly-shaped hat, the woman in the middle is a lady-in-waiting in the residence of a shogun or daimyo, a Japanese feudal lord. A high-class courtesan, identified by her front-tied obi with a peacock feather pattern, is below her. Anchoring the work is a women in a simple brown kimono wearing a checkered obi sash and she reclines on the floor reading a book. Some scholars suggest she is a widow because of her plucked eyebrows and somber colored robes.

Bank of America recognizes the power of the arts to help economies thrive, educate and enrich societies, and create greater cultural understanding. The Masterpiece Moment program was launched to both celebrate great works of art and provide critical funding for museums across the country, including SAM, during a very difficult time. We are deeply grateful to Bank of America for their incredible support of SAM. Learn more about this wonderful Hokusai work in SAM’s collection by visiting the Masterpiece Moment website. New videos are released every other Monday, and we hope you’ll follow along!

The Contemporary American Struggle: Hank Willis Thomas

Sit down with multi-media artist Hank Willis Thomas and hear about the works on view in SAM’s exhibition Jacob Lawrence: The American Struggle. The exhibition questions the stories we’ve been told by amplifying narratives that have been systematically overlooked from America’s history. This exhibition reunites Lawrence’s revolutionary 30-panel series Struggle: From the History of the American People (1954–56) for the first time since 1958, and SAM is its only West Coast venue. These 30 panels are heavily informed by the contemporary issues of Lawrence’s time as they address the history of what it means to be an American. Viewing this rarely exhibited series today is a reminder of shared histories during this current divisive chapter in America, where the struggle for freedom and justice marches on.

Hank Willis Thomas (b. 1976) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. A trained photographer, Thomas incorporates mirrors and retroreflective vinyl to challenge perspectives and explore often overlooked historical narratives. My Father Died for This Country Too/I Am an American Also in this exhibition is an example of his work that is activated by flash photography. This role reversal makes the viewer create the image and asks who is included or erased in the biased storytelling of history. Rich Black Specimen #460, Thomas’ sculptural contribution to the exhibition, is a life-size interpretation of a symbol used in runaway slave advertisements in the 19th century.

Jacob Lawrence’s Struggle series interprets the democratic debates that defined early America and echoed into the civil rights movements during which he was painting the series. Works by contemporary artists Derrick Adams, Bethany Collins, and Hank Willis Thomas engage themes of democracy, justice, truth, and the politics of inclusion to show that the struggle for expansive representation in America continues.

Wild at Heart: SAM x Woodland Park Zoo

The Seattle Art Museum (SAM) and Woodland Park Zoo have joined together to protect what we love! This lively partnership is part of the Wild at Heart series to celebrate local cultural organizations.

For the April photo celebration, Woodland Park Zoo’s Skyáana the porcupine and Harry the skunk made a special visit to the Seattle Art Museum in downtown Seattle. Skyáana and Harry are ambassador animals at Woodland Park Zoo who are featured in the zoo’s educational programs that help build empathy for animals and promote ways to take action for wildlife. You can find these photos on the Woodland Park Zoo or Seattle Art Museum social media pages. As a special bonus, you can see Amarillo the armadillo in this video spending some time in the SAM Porcelain Room checking out the more-than-1,000 magnificent European and Asian pieces from SAM’s collection.

Skyáana spent time in the Brotman Forum enjoying Middle Fork by artist John Grade. While food and beverages are not allowed in the Seattle Art Museum galleries, Skyáana found a “Claws Clause” loophole and received a special snack exemption to munch on her favorite biscuits during her visit. Harry, a native Pacific Northwesterner (by species), spent his time taking in the beauty of Albert Bierstadt’s 1870 oil painting Puget Sound on the Pacific Coast.

“It’s been wonderful having all of our visitors back in the galleries, but I have to say that Skyáana and Harry are particularly special,” says Amada Cruz, SAM’s Illsley Ball Nordstrom Director and CEO. “Just as the zoo takes care of these precious animals, we take care of precious artworks so that everyone can enjoy them for generations to come. Our time together in these cultural places are precious to us, too.” We hope you’ll take some inspiration from Skyáana, Harry, and Amarillo and visit SAM soon!

The Contemporary American Struggle: Bethany Collins

“My Country, ‘Tis of Thee”—it’s a song that everyone likely knows some version of and Bethany Collins is sharing why she created a chapel space where you can hear layered recordings of it inside of Jacob Lawrence: The American Struggle at SAM. The exhibition questions the stories we’ve been told by amplifying narratives that have been systematically overlooked from America’s history. This exhibition reunites Lawrence’s revolutionary 30-panel series Struggle: From the History of the American People (1954–56) for the first time since 1958. These 30 panels are heavily informed by the contemporary issues of Lawrence’s time as they address the history of what it means to be an American. Collins’ installation extends the conversation around what it means to be an American into the art being made today.

Bethany Collins (b. 1984) is a multidisciplinary artist whose conceptually driven work is fueled by a critical exploration of how race and language interact. Her work in the exhibition titled America: A Hymnal is an immersive audio experience within a chapel space where six layered voices sing different versions of “My Country, ‘Tis of Thee.” The altar object within the gallery is a book containing the sheet music to 100 versions of this well-known song which has changed and been used for various purposes since it was first penned as “God Save the Queen” in Great Britain. Collins describes the book as “100 dissenting versions of what it means to be American, bound together.”

Jacob Lawrence’s Struggle series interprets the democratic debates that defined early America and echoed into the civil rights movements during which he was painting the series. Works by contemporary artists Derrick Adams, Bethany Collins, and Hank Willis Thomas engage themes of democracy, justice, truth, and the politics of inclusion to show that the struggle for expansive representation in America continues.

Revisiting Reopening the Asian Art Museum, At Last

One year ago, we welcomed you back to the renovated Asian Art Museum following a three-year closure while we reimagined and reinstalled SAM’s original home. Now, we are thrilled to invite you to another reopening in May 2021, following our year-long COVID closure to keep our community safe. The galleries have been waiting for you.

During the opening weekend in February 2020, 10,000 people visited the museum to experience the groundbreaking new thematic installation of SAM’s Asian art collection and share in creativity across cultures. It was moment to remember and we invite you to revisit the festivities in this video. Closing the museum just one month after this video was filmed was a sad moment and we know that many people did not get a chance to experience the expanded and enhanced Asian Art Museum. But soon, everyone will be able to!

The Asian Art Museum will reopen with limited capacity to members on May 7 and to the public on May 28. Friday, May 28 will be free and hours will be extended for Memorial Day weekend. Member tickets will be available starting April 15 and the public can get tickets starting April 29. The museum hours are 10 am–5 pm, Fridays–Sundays and admission is free on the last Friday of every month. When the museum reopens, the inaugural exhibitions will remain on view, including Boundless: Stories of Asian Art and Be/longing: Contemporary Asian Art in the museum’s galleries and the installation Kenzan Tsutakawa-Chinn: Gather in the Fuller Garden Court. Learn more about what to know when you visit the Asian Art Museum.

Today’s Seattle Asian Art Museum is inspired. The Asian Art Museum breaks boundaries to offer a thematic, rather than geographic or chronological, exploration of art from the world’s largest continent. The restoration of the historic Art Deco building, improvements to critical systems, expanded gallery and education spaces, and a new park lobby that connects the museum to the surrounding Volunteer Park are just some of the ways the Asian Art Museum has been transformed and preserved as a cultural and community resource for future generations.

You will no longer find galleries labeled China, Japan, or India. Instead, vibrant artworks from Vietnam to Iran, and everywhere in between, come together to tell stories of human experiences across time and place. From themes of worship and celebration to clothing and identity, nature and power to birth and death, the new collection installation reveals the complexity and diversity of Asia—a place of distinct cultures, histories, and belief systems that help shape our world today.

The Contemporary American Struggle with Derrick Adams

Hear Derrick Adams discuss his artworks included in SAM’s exhibition Jacob Lawrence: The American Struggle. The exhibition reunites Lawrence’s revolutionary 30-panel series Struggle: From the History of the American People (1954–56) for the first time since 1958 and features contemporary art, all of which work together to question the stories we’ve been told by amplifying narratives that have been systematically overlooked from America’s history.

Derrick Adams’s (b. 1970) multidisciplinary practice probes the influence of popular culture on self-image, and the relationship between man and monument. Adams is deeply immersed in questions of how African American experiences intersect with art history, American iconography, and consumerism. He describes his two works in The American StruggleSaints March and Jacob’s Ladder—as a way to “contribute to conversations that expand on histories that are both Black American and American overall.” Saints March is a video considering the original American dance form of tap and contemporary street tap performance, while Jacob’s Ladder brings Lawrence’s personal archives into the gallery through a sculptural installation that lends optimism to the concept of struggle.

Jacob Lawrence’s Struggle series interprets the democratic debates that defined early America and echoed into the civil rights movements during which he was painting the series. Works by contemporary artists Derrick Adams, Bethany Collins, and Hank Willis Thomas engage themes of democracy, justice, truth, and the politics of inclusion to show that the struggle for expansive representation in America continues.

Who is Jacob Lawrence? The American Struggle Overview

Join Theresa Papanikolas, Ann M. Barwick Curator of American Art, for an in-depth virtual exhibition overview of Jacob Lawrence: The American Struggle, on view at SAM through May 23. Get to know Jacob Lawrence—a New Yorker, a University of Washington professor, a modernist painter, and an influential Black American artist—through this talk and by visiting SAM to see Lawrence’s revolutionary story. Advance tickets are required and are selling out so get yours soon, more tickets will be made available on a weekly basis, every Thursday. Speaking of Thursdays, starting April 1, First Thursdays at SAM are entirely free!

The American Struggle reunites Lawrence’s revolutionary 30-panel series Struggle: From the History of the American People (1954–56) for the first time since 1958, and SAM will be its only West Coast venue. Works by Derrick Adams, Bethany Collins, and Hank Willis Thomas engage themes of democracy, justice, truth, and the politics of inclusion to show that the struggle for expansive representation in America continues.

This talk was originally offered as a free SAM member-exclusive event. Interested in learning more about the perks of membership? Find out more about all the benefits you get when you join SAM.

Free Ways to See Jacob Lawrence: The American Struggle

Jacob Lawrence: The American Struggle opens this Friday, March 5, and tickets to opening weekend are already sold out! But, don’t worry, future dates are available and released on a rolling basis, every week on Thursdays. Meanwhile, we all love the sound of free—find out how you can experience this revolutionary story as told by Jacob Lawrence and contemporary artists Derrick Adams, Bethany Collins, and Hank Willis Thomas for free.

  • Free community passes are available to any requesting individual, family, or group as passes are available. Passes are especially those for whom the cost of a ticket is prohibitive and groups who have been historically excluded from the museum space due to systematic oppression, including communities of color, immigrant and refugee communities, low income communities, queer communities, and the disability community.
  • First Thursdays are back and better than ever starting April 1 (no foolin’)! Previously, admission to special exhibitions wasn’t included as part of Free First Thursday but now the entire museum, including The American Struggle, is free on the first Thursday of every month.
  • First Friday: With this reopening, we’ve also expanded benefits on First Fridays. Now, admission to The American Struggle is free for anyone 65 years and older and $7.99 for everyone else!
  • UW Art Students, fill out our customer service form to request free tickets.
  • Members of City of Seattle’s Gold and FLASH card program can get free tickets for caregivers by filling out our customer service form.
  • SAM members and children (14 & under) are free.

SAM is for everyone and we’re here to make sure anyone can see the art they love! Don’t forget, entry to SAM’s permanent collections is always suggested admission! You can experience our global collection year-round and pay what you want by calling our customer service center. At this time, capacity at the museum is limited and everyone must get tickets in advance of their visit. We can’t wait to see you at the museum again.

Art & Social Justice Stories

Over the past several years, SAM has presented Art & Social Justice Tours during the week of the Martin Luther King Jr. holiday. Facilitated by SAM staff, the tours invite conversation and personal responses based on artists and artworks on view in SAM’s galleries. Since we can’t be together in the galleries this year, we’ve invited SAM staff to reflect on the important connection between art and social justice from home. These responses were shared on SAM’s Instagram stories throughout the week as SAM staff members offered perspectives on art at SAM or in their homes, that honor the legacy of Martin Luther King Jr.

These videos were too good to only live in our highlights, so we’ve gathered them here for you. Hear from Brandon Vaughan, one of SAM’s board members, on Swedish artist Eitil Thorén Due, and Seattle artist Christina Martinez.

Cindy Bolton, Chief Financial Officer at SAM, shares an artwork from her home by Charly Palmer. Check out Freedom in Bolton’s story and find some optimism in this artwork.

Yaoyao Liu is a museum educator at SAM and she discusses Takahiro Kondo‘s sculpture, Reduction. This newly installed contemporary sculpture sits on the recently restored fountain in the Fuller Garden Court at the renovated and expended Asian Art Museum. We look forward to reopening SAM’s original home later this spring so you can see this work in person.

SAM Performs: Cross Section Dances

“Moving images
When you stare at something for a while it starts to move.
When you focus/think on it long enough it will move you.” 

– Michele Dooley

Action painting is akin to an artist dancing around their canvas. In this video Michele Dooley, Nia-Amina Minor, and Amanda Morgan, three Seattle-based contemporary dance artists, reinterpret Franz Kline’s movements in Cross Section.

Cross Section came into SAM’s collection earlier this year as part of a gift made to the Seattle Art Museum from the Wright Collection in honor of the museum’s 75th Anniversary. Though it’s been on view before, it’s inclusion in City of Tomorrow: Jinny Wright and the Art That Shaped a New Seattle marks it’s debut as part of our Modern and Contemporary Collection. This exhibition presents 64 works, all from the Wright Collection, created between 1943–2003 that define bold and experimental art movements across the United States and Europe. City of Tomorrow features but a fraction of the many works that Jinny and her husband Bagley gifted to SAM over the years. Kline’s Cross Section is a striking example of the Abstract Expressionist art movement.

“There is movement present in a painter’s trace. In the remnants of each brush stroke one can sense action, physicality and gravity. What does it feel like to be a paint brush to watch and listen to it’s swipe and feel each stroke embodied. What does it feel like to move with and through a painting? In the wash of this physicality there are the inevitable left overs and spillages. That space of imperfection and slippage draws me in.” 

– Nia-Amina Minor

Like many abstract expressionist artists, Kline trained as a figurative artist but chose to work abstractly, believing that the basic elements of art—line, color, shape—could evoke a transcendent experience for a viewer. In Cross Section, thick strokes of black and white paint are layered, emphasizing movement in the composition. This work is often referred to as an example of action painting because it can be seen as a record of its making.

Though City of Tomorrow is closing on January 18, the impressive artworks in this exhibition will be on view again as part of SAM’s collection galleries—all thanks to the visionary voyage of Jinny Wright. Through her arts initiatives, donations, and fundraising, Jinny’s legacy lives not only in the art collections and institutions she helped build, but also in her staunch belief that contemporary artists define their time.

“When approaching making movement in response to this work, I immediately was drawn to how abstract it was. Only having black and white strokes leave so much room for interpretation and storytelling. I imagined I was a part of the black strokes, weaving in and out of the white portions. There’s a moment where I slowly slip my shoes off; this was improv, but I envisioned that I was leaving the black strokes to enter white strokes, intertwining them both, one not existing without the other.” 

– Amanda Morgan

Sharing Talents: 2020 Betty Bowen Winning Artist Talk

Learn about the three Northwest artists selected as part of this year’s Betty Bowen Award. Dawn Cerny, Elijah Hasan, and Tariqa Waters were all selected as recipients of this annual SAM award. The annual Betty Bowen Award honors a Northwest artist for their original, exceptional, and compelling work. Dawn Cerny, the 2020 winner, is awarded an unrestricted cash prize of $15,000, and a selection of works will be exhibited at the Seattle Art Museum in the spring of 2021. In addition, Elijah Hasan, and Tariqa Waters, this year’s two Special Recognition Award winners, receive $2,500 to further their artistic practice. Hear from Hasan and Waters as they share insight and perspective into their work and practice followed by an audience Q&A.

2020 Betty Bowen Award Winner Dawn Cerny’s sculptures explore the idea of “home” as both a concept and a place, and as an arena rich for investigation. Her recent body of work examines ideas of furniture and mothers as metaphors: figures that secure value for their potential to hold, display, or be absentmindedly left with things. This pattern of holding as the creation of intimacy and belonging, pleasure, and self-preservation plays out repeatedly in her work.

Special Recognition Award Winner Elijah Hasan is a writer, filmmaker, and director. His projects lay bare the realities of systemic racism, social justice, and activism, exploring subjects such as the experiences of Black police officers in the Portland police department and the parallels between Americans who fought in the Spanish Civil War and contemporary members of Antifa. He centers the stories of Black communities as they navigate these realities, all while on a personal journey of artistic and spiritual growth.

Kayla Skinner Special Recognition Award Winner Tariqa Waters’ whimsical, Pop-inspired work references childhood memories where vanity and self-preservation collide to mask systemic and generational pain. Her work examines ideas of femininity, beauty, race, sexuality, and inclusion. Using photography, videography, and sculptural fabrication, Waters attempts to create innovative ways to distort reality to the point where marginalization is impossible.

Intersections: Black, Woman, Art!

As programs continue to be offered virtually we are streaming Zoom talks to our Facebook page where you can watch them live. Or you can check back here where we are sharing select events to the blog such as this conversation between multidisciplinary artists Kimisha Turner and Takiyah Ward. Moderated by Priya Frank, Director of Equity, Diversity and Inclusion at SAM, this dynamic discussion ranges from the roles Turner and Ward play as Black artists in our current moment to their recent public art projects including the Black Lives Matter mural created by the Vivid Matters Collective at the Capitol Hill Organized Protest (CHOP). Watch along and consider how public art shapes your community. Also, get excited to see Kimisha Turner’s mural, It Ain’t Just a River in Egypt, at SAM when we can reopen—this artwork has just joined our collections!

Washington born and raised, Kimisha Turner is heavily influenced by diverse creative expressions. From murals, to sculpture, to performative work she loves working in varying mediums and processes to convey her conceptual vision. Although her work varies in application, there’s typically a familiar thread found among them. Bright colors and beauty combined with challenging subject matter is often a theme, allowing it to be easily digested by a varied audience. She earned her B.F.A. from Cornish College of the Arts after completing an Associates degree during high school. For over a decade she’s dedicated her focus to innovative ways of creating and interpreting the world as it relates to the human experience. Exploring identity, race, life, grief, and love while drawing on her personal life, her work aims to evoke empathy, perspective and empowerment. The Seattle Art Museum, Northwest African American Museum, Pratt Fine Arts, and Seattle Theater Group are a few of the organizations to collaborate with Kimisha for personal or community based events.

Takiyah Ward, artistically known as T-DUB Customs, is also a Washingtonian. Her Seattle upbringing played a pivotal role in her creative self-expression-from ballet to tap, basketball to custom sneakers–wherever the outlet was most fruitful, Takiyah was ready to learn and explore. During her high school years, Takiyah became extremely interested in clothing and sneaker customization. She began hand painting and airbrushing designs on her own clothes and those of her classmates, morphing her hobby into a successful business. Takiyah eventually left Seattle to study architecture at the New York Institute of Technology, where she honed her skills in technical drawing and design. Takiyah’s artistry reflects the perfect mix of learned skills and self-taught talents, making her the type of artist who shows up ready to perform, no matter the platform! Through T-DUB Customs, Takiyah hopes to be an outlet for all-artistically inclined or not- as it is her belief that our ability to ‘stay creative’ is humanity’s greatest asset.

Curators Dialogue: City of Tomorrow

Learn more about the new exhibition, City of Tomorrow: Jinny Wright and the Art that Shaped a New Seattle in this talk between SAM curators past and present who worked closely with Jinny Wright over the years in building the museum’s collection of modern and contemporary art.

SAM’s current Curator of Modern of Contemporary Art, Catharina Manchanda, talks with Patterson Sims and Lisa Graziose Corrin. Amidst their ongoing, distinguished careers both Sims and Corrin served as curators of modern of contemporary art at SAM in years past, and offer unique and personal perspectives on Wright’s legacy and the building of support for contemporary art in Seattle. City of Tomorrow features 64 works created between 1943–2003 that define bold and experimental art movements across the United States and Europe. The artworks on view are a fraction of the many works that Jinny and her husband Bagley gifted to SAM over the years, many of which have not previously been displayed at SAM. The exhibition will also include archival photographs, ephemera, and other materials that trace the transformation of SAM, the city, and Washington state. Get timed tickets online to visit this new exhibitions, it closes January 18.

About the Presenters

Lisa Graziose Corrin is the Ellen Philips Katz Director of The Mary and Leigh Block Museum of Art at Northwestern University. Her previous positions include Director, Williams College Museum of Art, Deputy Director of Art/Curator of Modern and Contemporary Art at the Seattle Art Museum, where she was the artistic lead for its new waterfront Olympic Sculpture Park, Chief Curator at the Serpentine Gallery in London and Assistant Director/Curator of The Contemporary in Baltimore. She has published widely on contemporary art, public art, and critical museology. Her book Mining the Museum: An Installation by Fred Wilson was given the George Wittenborn Award by the North America Libraries Association in 1994. She has written extensively on Mark Dion’s work including contributing to Phaidon’s monograph on the artist. Most recently she was co-curator of A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s.

Catharina Manchanda is the Jon & Mary Shirley Curator of Modern & Contemporary Art at the Seattle Art Museum. Prior to joining SAM, she was the Senior Curator of Exhibitions at the Wexner Center for the Arts in Columbus, Ohio. During her career, she has also worked in curatorial positions at the Mildred Lane Kemper Art Museum, St. Louis; the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; and the Philadelphia Museum of Art. She has won a number of prestigious international awards including an Andy Warhol Foundation grant, Getty Library Research Grant, and a German Academic Exchange Scholarship (DAAD), among others.

Patterson Sims serves as President of the Leon Polk Smith Foundation, Managing Director of The Saul Steinberg Foundation, and Secretary of CALL (City as Living Lab), set up by Mary Miss. He is also a member of the boards of the Woodman Family Foundation, the Fanny Sanin Trust, and the Jennifer Wynne Reeves Trust. He previously worked as the Assistant Director of O.K. Harris Works of Art and at the Whitney Museum of American Art, the Seattle Art Museum, The Museum of Modern Art, New York, and the Montclair Art Museum. He is co-chair of the board of Independent Curators International and works as freelance art curator, writer, and consultant.

Image: Installation view of City of Tomorrow: Jinny Wrights and the Art That Shaped a New Seattle at Seattle Art Museum, 2020, photo: Natali Wiseman

In Honor of 25 Years of Dia de los Muertos at SAM

In 1995 Carlos Contreras, an artist and staff member at the Seattle Art Museum invited Fulgencio Lazo to create a tapete to accompany his traditional altar for Dia de los Muertos or Day of the Dead. What began 25 years ago as an effort to share a Oaxacan-style installation made from sand and pigments (a tapete) in Seattle turned out to be a much-revered tradition at the Seattle Art Museum, spreading throughout the city and beyond.

Unfortunately due to COVID-19, we are not able to have a tapete nor gather in person at SAM for the annual Dia de los Muertos celebration to pay homage to those whom we have lost, in a way that feels so very personal to all of us in 2020.  There is no replacing this in-person experience, but we want to mark this 25th anniversary to reflect and honor our partnership through a series of photos tracing back to 1995. We also want to recognize, with deep gratitude, the many, many hands that have prepared the tapete each year with so much care and love. To work with artist Fulgencio Lazo and Erin Fanning has been a lesson in what true and authentic community building looks like, and we are overwhelmed by their generosity of heart and talent.

Lazo and Fanning express that remembering those who have passed away “. . . gives us strength in 2020, a year of monumental loss for so many around the world. The COVID-19 pandemic has killed hundreds of thousands within the United States alone, disproportionately affecting Black, Brown, and Indigenous communities. This pandemic, coupled with the continuing humanitarian crisis at our southern border and the ongoing police violence directed at our African American siblings, has resulted in so many unnecessary deaths. The toll of all this loss is overwhelming and can cause numbness. In the face of this, we look to Day of the Dead for solace, to remember those who have passed away. It is our hope that we can remember our dead, celebrate their lives and gather our collective strength.”        

This beautiful installation launched a partnership with Lazo and his wife, Erin Fanning, that has continued for the past 24 years, inviting thousands of visitors to experience these remarkable pieces and what they represent.

2011 at the Olympic Sculpture Park

Dia de los Muertos is a time to remember and honor those who have passed away. It is believed that the spirits of the dead return to visit with their living family. Through Day of the Dead, we express a myriad of conflicting emotions: fear, love, mourning, joy, beauty, and anger, among others. These powerful personal emotions are brought to a very public space in the Seattle Art Museum’s annual installations. And with great skill, experience, and an extraordinary sense of artistic vision, Lazo seemingly effortlessly, creates art that engages.

Dia de los Muertos 2018. Photo: Robert Wade

Each October during the last few years, artist Fulgencio Lazo and his team of collaborators have crisscrossed Washington State, making scores of sand paintings—some years using as much as two tons of sand!

Lazo has been a full-time, professional artist for 30 years, working predominantly in acrylic on canvas and printmaking in his studios in Seattle and in his hometown of Oaxaca, Mexico. He often incorporates wooden sculptures within the tapetes.

This installation from 2015, depicting a boat full of women textile workers and weavers, was dedicated to the thousands of men, women and children who have died while attempting to immigrate. Throughout the years, Lazo has worked closely with (from right to left) Jesús Mena, José Orantes, Víctor y Mirtha González and Amaranta Ibarra (not pictured above).

Additionally, hundreds of young people have participated in the making of the tapetes. Community volunteers, as young as three and four years old, have molded the sand and applied pigments. Over the years, thousands have helped to make this celebration their own. The communal spirit of the tapete and the annual Dia de los Muertos celebration is truly palpable.

In his own practice as an artist, Lazo aims to create warm, vibrant, whimsical images that celebrate family and community. His artwork depicts elements characteristic of his Oaxacan and Mexican heritage, like masks and human figures in an exploration of themes of identity.  Color and graceful lines evoking free movement are ever-present in his pieces, bringing joy to the viewer.

Lazo explains “I paint musical instruments, unicycles, birds, children’s toys, flowers, buttons and other elements of everyday life to create a sense of community and playfulness. Whether at a wedding, at an outdoor market, or on the street corner where neighbors gather, these shared experiences strengthen and define a culture. I take these experiences in and with my brush I try to synthesize them, thus rendering them universal. Using iconographic motifs and symbolic representations, I strive to recreate and celebrate the life cycle of my Zapotec indigenous heritage. In a tangible way I express the resilience of my own identity. With joy, through color and synthesis, I show the possibilities for any who care to embark on this path.”

– Priya Frank, SAM Director of Equity, Diversity, and Inclusion & Erin Fanning, Community Collaborator

Photo: Mia McNeal. Photo: Robert Wade. Photos courtesy Erin Fanning.

Saturday University: The Colors of Space & Time

Although the Asian Art Museum is closed until further notice, the Gardner Center for Asian Art and Ideas is still offering their popular Saturday University Lecture Series. This season, like all SAM programs, Saturday University is being offered virtually. Another unusual thing about this season is that it’s free! Tune in on Facebook live or Zoom every Saturday through November 21 for talks on Color in Asian Art: Material and Meaning such as The Color of Space and Time presented by Marco Leona, the David H. Koch Scientist in Charge of the Department of Scientific Research at the Metropolitan Museum of Art.

Marco Leona speaks on recent findings on the materials and techniques of Edo and Meiji Period paintings and prints in the recording of this lecture from October 10. Japanese painters and printmakers of the Edo (1603-1868) and Meiji (1868-1912) period achieved a rich visual language within a narrow range of pigments. Yet artists such as Jakuchu, Korin, and Hokusai produced evocative possibilities in ways far more complex than generally thought, especially in experiments with new synthetic color.

Leona shows how technological developments were not only readily embraced, and often prompted by artists and their audiences, but also that they in turn created new forms of expression.

The Saturday University Lecture Series is presented with the University of Washington’s Jackson School of International Studies and the Elliott Bay Book Company.

SAM Connects You to City of Tomorrow for Free

City of Tomorrow: Jinny Wright and the Art That Shaped a New Seattle opens October 23! See works from one of the best collections of modern and contemporary art in the country—all thanks to one visionary Seattleite, on view through January 18. Art by major American artists includes Helen Frankenthaler, Philip Guston, David Hammons, Jasper Johns, Franz Kline, Robert Rauschenberg, Mark Rothko, Frank Stella, Cindy Sherman, and Andy Warhol in this extraordinary exhibition. You can’t tell the story of Seattle’s art world without telling the story of Jinny Wright. Learn more about Wright’s legacy when you visit, and check out all the ways to see City of Tomorrow for free:

  • Free community passes are available to any requesting individual, family, or group as passes are available, especially those for whom the cost of a ticket is prohibitive, and groups who have been historically excluded from the museum space due to systematic oppression, including communities of color, immigrant and refugee communities, low income communities, queer communities, and the disability community.
  • First Thursdays mean discounts to City of Tomorrow!
    Adult: $9.99
    Seniors 65+, Military (w/ID): $7.99
    Students (w/ID): $4.99
    Ages 19 & younger: Free
  • First Friday: Admission to City of Tomorrow is $7.99 for anyone 65 years and older.
  • UW Art Students, fill out our customer service form to request free tickets.
  • Members of City of Seattle’s Gold and FLASH card program can get free tickets for caregivers by filling out our customer service form.

SAM is for everyone and we’re here to make sure anyone can see the art they love! Don’t forget, entry to SAM’s permanent collections is always suggested admission! You can experience our global collection year-round and pay what you want.

Asia Talks: Artist Hung Liu with Laila Kazmi

Learn about the art and experiences of Chinese contemporary artist Hung Liu in this virtual artist talk. Hung Liu immigrated to the U.S. as a young adult to attend art school. Her life and artwork offer incredible perspectives on identity and migration, especially in the way she brings together China’s past with American experiences. While the Asian Art Museum remains closed, the Gardner Center for Asian Art and Ideas continues to offer thought-provoking virtual events featuring prominent contemporary artists speaking on some of today’s most pressing topics. Our hope for this series is that the work and words of the artists can help to sustain us through this difficult time.

Hung Liu is a primarily a painter who works with photography as part of her practice. Recently she has also worked with shaped canvases for painting that are assembled to create 3-dimensional work. She is also Professor Emerita at Mills College, where she began teaching in 1990. The National Portrait Gallery in Washington DC organized a large-scale retrospective exhibition of her work that was planned for this summer, but had to be postponed because of the virus closures. Instead it will be on view there next year, from May 2021 thru Jan 2022, titled Hung Liu: Portraits of Promised Lands, 1968-2020.

Laila Kazmi worked with SAM’s Gardner Center to organize and host this talk. She is an Emmy-award winning filmmaker, a producer, and co-founder of Kazbar Media.

Coming up, the Gardner Center’s popular Saturday University Lecture Series begins October 3. Color in Asian Art: Material and Meaning features eight free talks that dip into dimensions of color and pigment. From legend and ritual, to trade and cultural exchange, to technical innovation and changing artistic practices—the use of bold colors has been considered alternatively excessive, precious, or brilliant throughout history. What rare pigments and closely guarded techniques produced some artworks, and what artistic innovations and social changes produced others? Join us to enjoy a spectrum of talks on colors produced from the earth, sea, fire, plants, and insects.

Asia Talks: Helen Zughaib with Laila Kazmi

“As an Arab American, I hope through my work, to encourage dialogue and bring understanding and acceptance between the people of the Arab world and the United States. Especially since 9/11, our wars in Iraq, Afghanistan, and the more recent revolutions and crises in the Arab world, resulting from the ‘Arab Spring’ that began in late 2010, have led to the civil war in Syria and the massive displacement of people seeking refuge in Europe, the Middle East and America.”

Helen Zughaib

Watch as Helen Zughaib discusses her family’s experiences in Syria and Lebanon, and her current work including “The Syrian Migration Project,” a painting series inspired by “The Migration Series” by artist Jacob Lawrence. In conversation with Laila Kazmi, Kazbar Media, this talk is part of a series of virtual events hosted by SAM’s Gardner Center for Asian Art and Ideas focusing on artists who have immigrated to the US from Asia and the Middle East, on their art, heritage, and coping with the present moment.

Helen Zughaib was born in Beirut, Lebanon, living mostly in the Middle East and Europe before coming to the United States to study art at Syracuse University. She currently lives and works as an artist in Washington, DC. Primarily, she paints in gouache and ink on board and canvas. More recently, she has worked with wood, shoes, and cloth in mixed media installations.

Her work has been widely exhibited in galleries and museums in the United States, Europe, and Lebanon. Her paintings are included in many private and public collections, including the White House, World Bank, Library of Congress, American Embassy in Baghdad, Iraq, and the Minneapolis Institute of Art. Helen has served as Cultural Envoy to Palestine, Switzerland and Saudi Arabia.

Haida Meets Manga with Michael Nicoll Yahgulanaas

We are sharing selections from SAM’s Conversations with Curators member-only series online with everyone! This talk took place live between the artist behind “Carpe Fin,” SAM’s most recent and largest, commission, Michael Nicoll Yahgulanaas, and SAM’s Curator of Native American Art, Barbara Brotherton.

Due to some technical difficulties, SAM members got a little tour of the artist’s quarantine studio at the beginning of the talk. We hope you enjoy this happy outcome of the challenges of moving our programs online!

Far away, past the point of no return, sits Lord’s Rock, an indistinct protuberance in an archipelago of windswept islands. It is from this auspicious place of hardship and wonder that Yahgulanaas’ large-scale Haida manga refreshes an ancient Haida tale. Several artistic and cultural influences form this innovative, hybrid style. Using Pop Art, Japanese manga, and Northwest Coast Indigenous formline art, the artist calls for action to save our one small planet. Hear about Yahgulanaas’ journey from politician and environmental activist to a leader in contemporary Haida art.

Find out more about the Conversations with Curators series and join SAM as a member today for upcoming events!

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