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!

SAM Performs: Trapsprung Dances

In Lynette Yiadom-Boakye’s Trapsprung, a dancer reaches to the tip of their outstretched leg while balancing perfectly on the toes of their other leg. In Interview Magazine, the artist describes being drawn to “the very kind of visceral physical power and grace of dancers, and their occasional closeness to losing control.”

A split second before or after the moment in this painting, and the dancer’s balance will shift into another movement. Here, though, the dancer’s strength and poise are captured in an instant, while Yiadom-Boakye’s brushwork evokes the energy of the movement. Painted from memory and imagination, Yiadom-Boakye features portraits of Black people exclusively, creating images that explore “the wider possibility of anything and everything.” In the current socio-political climate, David Rue, Public Engagement Associate at SAM, initiated a project that celebrates and elevates incredible Black artists living and working in the city of Seattle through connecting them with this work by a prominent Black artist in SAM’s collection. Local artists Amanda Morgan, Michele Dooley, and Nia-Amina Minor, responded to Trapsprung in brief, personal dance works, and offered reflections on the artwork and their lived experiences.

It’s easy to assume that each and every work made by Black artists living right now will only be about police brutality, slavery, or protest. Plot twist! While these are important conversations to be had, it’s also critical to remember that we’re a very dynamic group of people capable of exploring a multitude of artistic experiences. 

What I believe is on the other side of this socio-political monstrosity is the beauty, power, and grace that exists within Black artists. These are qualities that I see within Lynette Yiadom-Boakye’s work as well as within the dancers commissioned to respond to Trapsprung. Now is the time to celebrate and elevate their artistic excellence. 

David Rue

On my first visit to the Seattle Art Museum I immediately took notice of Trapsprung.  A Black ballerina dancing in a piece of art is not a common subject that you find in much of the art that is created, so I instantly saw myself in the work, being a Black ballerina myself. The aspect about the piece that I probably enjoy the most though is the perspective and action taking place within it. We are placed behind her and given her perspective as she moves; she moves with intent and direction as opposed to being static and placed in the space only to be seen. I think this demonstrates what women, and particularly Black women are capable of. We are not there to just be viewed or seen, we are a statement in just our being and use this as our power to go forth in all we do rather than let this inhibit us. I like to think the woman in that portrait would take on the world as such. 

Amanda Morgan

Amanda Morgan is originally from Tacoma, WA and is currently a corps member at Pacific Northwest Ballet. She joined the company in 2016 as an apprentice and was promoted to corps in 2017. In addition to dancing, Morgan is a choreographer and founder of her own project titled “The Seattle Project”, which aims to collaborate with multiple artists in Seattle and create new work that is accessible to the community. She has choreographed for PNB’s Next Step at McCaw Hall (2018, 2019), Seattle International Dance Festival (2019), and curated her own show at Northwest Film Forum this past February of 2020. She is currently continuing to still create and connect with artists during this time, and has a dance film coming out in collaboration with Nia-Amina Minor for Seattle Dance Collective this July.

Unstoppable.

Power and dynamic combined with softness and beauty.

Remembering all it is and what it feels like to be a Black woman.

Always acknowledging how much strength and resilience it requires to become the Black dancer in this artwork and the Black artist that painted it.

Michele Dooley 

Michele Dooley is a native of Philadelphia and began her dance training at The Institute of the Arts under the direction of Cheryl Gaines Jenkins. She graduated from the High School for Creative and Performing Arts under the direction of LaDeva Davis and earned a BFA in dance at The University of the Arts, under the direction of Donna Faye Burchfield. While earning her degree, she spent three seasons with Eleone Dance Theatre. Michele trained at Bates Summer Intensive, BalletX summer program, and DCNS Summer Dance Intensive, worked with choreographers such as Gary Jeter, Tommie Waheed-Evans, Dara Meredith, Milton Myers, Nora Gibson, and Ronen Koresh, among others. 

I see her and she’s flying.

Purposefully turned away from a world that is often drawn to her image partly because she makes it look so easy. But I see the effort, the commitment, and I can stand to learn something from the subtlety.  I remember reading that a bird’s wings have evolved to provide lift and reduce drag.  They use their strongest muscles to lift while their wing anatomy minimizes turbulence, friction, and all that would drag them down to the ground. 

I see her and she’s flying.

Nia-Amina Minor

Nia-Amina Minor is a movement based artist and dance educator from South Central Los Angeles. She holds a MFA from the University of California, Irvine and a BA from Stanford University. Nia-Amina is a co-founder of Los Angeles based collective, No)one Art House, as well as a Company Dancer and Community Engagement Artist Liaison with Spectrum Dance Theater.

SAM Talks: John Grade in Conversation with Alison Milliman

Watch to learn more about the artist behind Middle Fork. Currently hanging in SAM’s Brotman Forum, Middle Fork is the life-size sculpture echoing the contours of a 140-year-old western hemlock tree located in the Cascade Mountains east of Seattle. John Grade joined us from his studio to talk with Alison Milliman, founder of MadArt, and Catharina Manchanda, SAM’s Jon & Mary Shirley Curator of Modern & Contemporary Art.

MadArt was the original incubator for Middle Fork and since debuting there in January 2015, the sculpture has traveled around the world and more than doubled in length. Grade’s work is exhibited internationally in museums, galleries, and outdoors in urban spaces and nature. His projects are designed to change over time and often involve collaboration with large groups of people. He lives and works in Seattle.

This salon was originally presented as part of SAM’s Contributors Circles Members Salon Series. A benefit to our generous Contributor Circles Members, we are pleased to share this intimate salon with all of you while you stay home home SAM.

Earthworks: Land Reclamation, Revisited

While SAM is closed for the safety of our staff and community we have moved Conversations with Curators, our member-only lecture series, online! We are recording each talk in case our members miss one and making a selection of these popular talks available for everyone.

Here is Carrie Dedon, SAM ‘s Assistant Curator of Modern and Contemporary Art, discussing Earthworks: Land Reclamation, Revisited. In 1979, the King County Arts Commission sponsored a project with a unique proposition: inviting contemporary artists to design earthworks—site-specific artworks that use the land itself as their medium—to rehabilitate environmentally damaged landscapes. Titled Earthworks: Land Reclamation as Sculpture, the project resulted in one realized earthwork by Robert Morris, and seven unrealized proposals. These are the starting points to explore the history, legacy, and implications of art as a tool for environmental action.

Enjoy this taste of SAM’s member perks and consider joining as member for access to more upcoming live events in this series online, and in person once we can reopen.

SAM Talks: Barbara Earl Thomas on The Geography of Innocence

In anticipation of Barbara Earl Thomas’s exhibition opening in November, Barbara Earl Thomas: The Geography of Innocence, this talented artist describes the development of a new body of work amidst the turmoil and crises of the past year and within the context of broader American history. The conversation follows Thomas’s exploration of grace, storytelling, perception, and process in her art making. Watch this interview with SAM’s Jon & Mary Shirley Curator of Modern & Contemporary Art, Catharina Manchanda and get excited to experience these artworks in person this fall.

Defining herself as a storyteller, Thomas notes, “It is the chaos of living and the grief of our time that compels me, philosophically, emotionally, and artistically. I am a witness and a chronicler: I create stories from the apocalypse we live in now and narrate how life goes on in midst of the chaos.” In this exhibition, the artist will create an immersive environment of light and shadow—inhabited by large-scale narrative works in cut paper and glass—that addresses our preconceived ideas of innocence and guilt, sin and redemption, and the ways in which these notions are assigned and distorted along cultural and racial lines.

Kimisha Turner: It Ain’t Just a River in Egypt

If you’ve been in downtown Seattle recently perhaps you noticed the mural on the plywood covering SAM’s entrance. This bright, bold, and inspiring artwork was commissioned from artist Kimisha Turner. You may have seen her work recently in another mural—she is the artist behind the “B” in the Black Lives Matter mural on Capitol Hill.

https://www.instagram.com/p/CBfaxY4F9yO

Washington native and Cornish College Alum, Kimisha Turner creates work that invites self-reflection, empowerment, and social awareness. From photography to mosaic, wood carving to paint, performance art to printmaking, this multi-disciplinary artist has been busy utilizing her many skills to help people thinking differently about social justice and how we can all take part in anti-racist work. Turner gave a talk to the Seattle Art Museum Supporters group and you can watch it below to learn more about how art saved her life, how her son has pushed her to be a more proactive artist, and how we all have power to create change.

SAM Talks: Aaron Fowler on Into Existence

Hear from Aaron Fowler, the recipient of the Seattle Art Museum’s Gwendolyn Knight | Jacob Lawrence Prize. Part of the award includes a solo show at the museum. Fowler created a site-specific installation called Into Existence that fills one of SAM’s galleries with larger-than-life works that are at once paintings, sculptures, and installations. They are made from everyday discarded items and materials sourced from the artist’s local surroundings in Los Angeles and St. Louis, among other places. The works in Into Existence are illustrations of dreams and ideas that Fowler is working to bring into being. The title of the exhibition is a nod to words of encouragement—almost a mantra—that the artist’s grandmother has uttered his entire life: “You need to speak it into existence.”

Each work illustrates a poignant subject, event, or action Aaron Fowler wishes to manifest—from portraits of incarcerated loved ones being freed to fantastical scenarios incorporating historical figures alongside friends, role models, contemporary public icons, and often his own likeness. Funding for the prize and exhibition is provided by the Gwendolyn Knight Lawrence and Jacob Lawrence Endowment and generous support from the Jacob and Gwendolyn Lawrence Foundation. See it when SAM can reopen, Aaron Fowler: Into Existence will be on view through January 2021 .

Virtual Art Talks: Monet at Étretat with Chiyo Ishikawa

Learn more about Claude Monet’s mid-career painting series made during a winter spent on the coast of France with SAM’s Susan Brotman Deputy Director for Art & Curator of European Painting & Sculpture, Chiyo Ishikawa. Though Ishikawa is retiring this year, after 30 years with SAM, she will return for the planning of Monet of Étretat, opening May 2021.

Focused around SAM’s colorful Monet painting, Fishing Boats at Étretat, 1885, the exhibition considers the artist’s engagement with Étretat, a seaside village in Normandy known for its stunning chalk cliffs. During a difficult period in his life, Monet traveled there alone and painted over 80 works, immersing himself in the place and committing himself to the process of painting in all kinds of conditions. He went there in the off-season, interested not in the summer tourist scene but in the daily fishing activity and the timeless rock formations. SAM’s focused exhibition will feature 11 works by Monet, plus contemporaneous paintings by other artists who worked at the same site. Watch this talk and look forward to the exhibition while you stay home with SAM.

We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!

Virtual Art Talks: Public Art with Teresita Fernández

Listen in as artist Teresita Fernández joins Amada Cruz, SAM’s llsley Ball Nordstrom Director and CEO, for a virtual salon. This talk took place just days before our country erupted in protest of systemic racism and touches on how Teresita has been addressing America’s long history of power and oppression in her public artworks as well as within her current installation at the Pérez Art Museum. Featuring artworks created between 2005 and 2017, this exhibition includes “Fire (United States of the Americas).” Made shortly after the election of Donald Trump but referencing an 1848 treaty with Mexico that drastically altered the maps and notions of our present day nation states, “Fire” is a timely and haunting vision of how ideas of land and ownership impact concepts of who the public is when we talk about public art. This important conversation asks us to consider our role as viewers in understanding and shifting our own perspectives.

MacArthur fellow, Teresita Fernández is renowned for her immersive installations that seduce the viewer with their beauty but serve as a reminder of how landscapes contain history, violence, and power. Here, in Seattle, she is known for her stunning work commissioned for SAM’s Olympic Sculpture Park, “Seattle Cloud Cover.” This salon was originally presented as part of SAM’s Contributors Circles Members Salon Series. A benefit to our generous Contributor Circles Members, we are pleased to share this intimate salon with all of you while you stay home home SAM.

SAM Creates: Comic Books with Michael Nicoll Yahgulanaas

Carpe Fin is a very large mural created by Haida artist Michael Nicoll Yahgulanaas on handmade mulberry paper from Japan. The people of the Haida Nation are native to coastal British Columbia and southern Alaska and have occupied Haida Gwaii since time immemorial. Yahgulanaas describes his artwork as “Haida manga,” which combines many artistic and cultural traditions and styles, including Haida formline art, Japanese manga, Pop Art, Chinese brush painting, and graphic novels. 

The artist uses black shapes to outline scenes from the story, which are similar to boxes you’d see in a comic book or graphic novel. The shapes Yahgulanaas uses, like ovoids and u-shapes, are usually used in formline or frameline design, which is the common visual language across Native communities in the Northwest Coastal region. He was inspired in particular by a 19th-century headdress created by his Haida relative, Albert Edward Edenshaw, pictured below. 

The story he tells is inspired by a traditional Haida oral story and the story told by his relatives’ artwork, but set in the world that we live in today. Carpe Fin is about the relationship between humans and the ocean. A sea mammal hunter goes in pursuit of food to feed his starving community and is taken underwater to the realm of a powerful spirit. Carpe Fin makes us think about environmental issues and the connection between humans and nature. Learn more about the history of the Haida Nation.

LOOKING QUESTIONS

Take a minute to look at the artwork and take in everything that you see. Then talk about these questions with a friend or family member.

  • What’s going on in this artwork? What do you see that makes you say that? What more can you find?
  • This panel is just one part of a much larger work of art and was inspired by comic book design. How is it similar to comics that you have seen before? How is it different?
  • Who do you think the characters are in this story? What can you tell about them based on the details you see?
  • Imagine you’re in one part of this painting. What would you see? What would you smell there? What would you hear?

Art Activity: Create a comic to tell your own story.

What You’ll Need!

  • Paper
  • Pencil
  • Eraser
  • Optional: ruler, markers, colored pencils
  1. Decide on a story: Choose an interesting story that has been told to you by someone you know. Now, think about what that story would be like if it happened today with people you know. When you have an idea for your story and characters, write out the plot: a beginning, middle, and end. 
  2. Divide your paper into three parts, either by folding it or drawing lines using the ruler and a marker. For more of a Haida manga style, try creating three boxes using ovoids or u-shapes instead of squares or rectangles.
  3. Working from right to left or top to bottom (depending on how you use your paper), draw the beginning, middle, and end of your story.
  4. If you like, you can trace your lines in marker and color in your drawings. You can also add words
    to your story (consider using speech bubbles to make it look even more like a comic strip)!
  5. Don’t forget to write your name, authors and
    artists always sign their work! What title will you give this comic?

KEEP LEARNING WITH A STORY

Michael Nicoll Yahgulanaas also turned Carpe Fin into a book. Buy a copy from SAM. You can read more graphic novels on Hoopla Digital and Comixology. If you’re looking for more new takes on Indigenous stories, read Tales from Big Spirit series by David Alexander Robinson or Trickster by Matt Dembicki online.

Carpe Fin (detail), 2018, Michael Nicoll Yahgulanaas, Haida, b. 1954, watercolor and ink on handmade Japanese paper, 6.5 x 19.7 ft., Seattle Art Museum, Ancient and Native American Art Acquisition Fund, McRae Foundation and Karen Jones, 2018.30, © Michael Nicoll Yahgulanaas. Sakíi.id (headdress frontlet), ca. 1870, Albert Edward Edenshaw, maple wood, paint, and abalone shell, 6 1/4 x 5 7/8 x 2 1/4 in., Gift of John H. Hauberg, 91.1.82. Photo: Natali Wiseman.

Virtual Art Talks: Discovering the Dragon Tamer Luohan with Foong Ping & Geneva Griswold

When the Asian Art Museum closed for renovation and expansion our curators and conservators had the opportunity to conduct new research on an ancient sculpture in our Asian art collection. Hear from Foong Ping, SAM’s Foster Foundation Curator of Chinese Art, and Geneva Griswold, SAM Associate Conservator, in this detailed discussion about the new findings that led to renaming one of our sculptures. Previously known as “Monk at The Moment of Enlightenment,” learn why this enigmatic sculpture is now titled, “Dragon Tamer Louhan.”

This talk was originally presented in 2019 as part of SAM’s popular member-only Conversations with Curators lecture series and was adapted into a virtual art talk for everyone during Seattle’s “stay home, stay safe” directive so that you can stay connected to art while you stay home with SAM. The current season of Conversations with Curators is taking place virtually and is free for SAM members. It’s a great time to join or renew your membership.

We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!

Virtual Art Talks: Gather with Kenzan Tsutakawa-Chinn

The next time you are able to visit the Asian Art Museum you will be greeted by a new light installation. Gather by Kenzan Tsutakawa-Chinn was commissioned to celebrate the legacy of Asian artists working over generations and all over the world. Hear from Kenzan in this artist talk and look forward to gathering under this site-specific installation.

The renovation and expansion of the Asian Art Museum allowed SAM curators to rethink how the artwork would be presented. Previously organized by regions with Japan in one wing, China in the other, and South Asia in the Garden Court, we were limited in the selection of works on view. Now, with more space and the thematic reinstallation, we are able to represent more of our renowned collection from all over Asia. This also created space in the Garden Court to present this new installation.

Learn more about SAM’s history and the Tsutakawa family! Check out this article in the South Seattle Emerald about Gather written by Kenzan’s mother, Mayumi Tsutakawa. You can find out more about Kenzan’s grandfather, George Tsutakawa in this SAM Blog article contributed by the Tsutakawa family and see his work on view at our downtown location when we are able to reopen in Exceptionally Ordinary: Mingei 1920–2020.

We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!

I ♥ Asian Art: Remembering the Asian Art Museum’s History

Did you know the Asian Art Museum is the original home of the Seattle Art Museum? In 1933, the Seattle Art Museum opened in our Art Deco building in Volunteer Park. In 1994 the museum expanded into our downtown location and the building in Volunteer Park became dedicated to exhibiting art from SAM’s Asian art collection. Many Seattleites have been visiting the Asian Art Museum right from the beginning and are sharing their love for SAM, Asian art, and the future of the Asian Art Museum in this video.

Hear about the history of the Asian Art Museum in the life of the city and the lives of the people that live here. Today’s Asian Art Museum is boundless. Placing a bodhisattva from Pakistan, a stupa from India, and a demon from China side by side reveals unifying ideas such as spiritual guides and guardians while sharing culturally specific meanings. 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.

Following a three-year long major renovation and expansion, the Asian Art Museum reopened in February 2020, only to temporarily close again in March for the safety of our community. We miss you and can’t wait to share the love for Asian art with you once again when we can reopen! Until then, stay home with SAM and enjoy videos like these.

We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!

Virtual Art Talks: All About Walkabout

As we continue to reflect on the ways that living in quarantine impacts our daily rhythms, Pam McClusky, Curator of African and Oceanic Art, is here to share artwork propelled by walking. Walking becomes one of our rhythms that adjusts to each landscape we cross. Translating that rhythm into paint became a goal for Dorothy Napangardi who walked hundreds of miles across her homeland. She spoke of the unconditional happiness and freedom she felt when she traversed her family’s country and slept beside them with stars as a canopy.

With fewer cars on the roads and the rare airplane in the sky, more of us are walking as a way of getting outside. Often, we are walking without destination, but rather, just to walk. How have you become aware of your surroundings differently on your daily walks? Let the artwork of Dorothy Napangardi, on view in Walkabout at SAM, inspire you to put on your mask and take a stroll through your neighborhood, giving plenty of space to the other pedestrians around you. Maybe your path will follow the one suggested by Pam at the end of the video, and lead you to the Olympic Sculpture Park.

Walkabout: The Art of Dorothy Napangardi at Seattle Art Museum is filled with Napangardi’s paintings from 2000–13 and takes us to the shimmering salt lake, where she absorbed indigenous laws and stories from the land and her family. Visit these large-scale and intricate paintings in person once SAM is able to reopen.

We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!

My Favorite Things: Ramzy Lakos on Amerocco

“As an American Egyptian, born and raised in the Middle-East, living in the US, I could see myself reflected in this piece, which is unique for me, because my identity mostly exists in-between spaces.”

– Ramzy Lakos, SAM Emerging Arts Leader Intern

Under the unique circumstances of SAM’s closure, our amazing Emerging Arts Leader Intern, Ramzy Lakos adapted the culminating tour of his internship into a video! Go inside Aaron Fowler: Into Existence with Ramzy as he shares his personal approach to understanding and connecting with the large-scale work, “Amerocco.” The exhibition is slated to be on view through October 25, 2020, and we hope you will have a chance to experience it in person once SAM can reopen.

Aaron Fowler’s larger-than-life works are at once paintings, sculptures, and installations. They are made from everyday discarded items and materials sourced from the artist’s local surroundings in Los Angeles and St. Louis, among other places. Items include cotton balls, security gates, afro wigs, hair weaves, broken mirrors, djellabas, sand, broken-down movie sets, found car parts, ropes, lights, and much more.

Emerging Arts Leader Internships at SAM grew out of SAM’s equity goal and became a paid 10-week position at the museum designed to provide emerging arts leaders from diverse backgrounds with an in-depth understanding of SAM’s operations, programming and audiences.

Inside SAM’s Asian Painting Conservation Center

“Without the periodic conservation of these works, they simply wouldn’t exist anymore. So this work is really critical and we are conserving our collections so that they are lasting in perpetuity for generations to come.”

– Nick Dorman, SAM Chief Conservator

When the Asian Art Museum reopens, you’ll be able to stop by to learn about the conservation of Asian paintings by peeking through the public viewing window into the conservation space to see the progress! Through a $3.5M challenge grant from the Andrew W. Mellon Foundation, a new Asian Paintings Conservation Center at the Asian Art Museum is devoted to the conservation, mounting, and study of Asian paintings. The new conservation center serves the museum’s collection as well as institutional and private collections in the region. This is the first museum center of its kind in the western United States. We hope to have it completed by 2021.

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today! Your financial support powers Stay Home with SAM and also sustains us until we can come together as a community and enjoy art in the galleries again.

New Views of Some/One

Now that the Asian Art Museum has expanded, we can fit this monumental sculpture by Do Ho Suh inside the galleries! Some/One is part of Be/longing: Contemporary Asian Art and while the Asian Art Museum is temporarily closed we are taking you behind the scenes of installing this impressive and important artwork.

Some/One, 2001, represents artist Do Ho Suh’s interest in individual and collective identity. A minimalist sculpture, Do Ho Suh explores how art transforms public and private spaces through a painstaking amount of intricate detail that is not always apparent at first sight but is an integral part of the artwork. Some/One, as the title of the work indicates, juxtaposes the collective—represented by a larger-than-life armor sculpture—and the individual, consisting of life-size shiny-metal dog tags, each unique and representing a single soldier. This allegory is carried forward by contrasting the hard, insensitive character of armor with the delicate aspect of the dog tags, which are made up of thin sheets of metal and embody the poetic symbolism of fallen warriors.

While the Asian Art Museum was closed for renovation and expansion we reimagined the presentation of art to include community perspectives on art works. Below is a reflection on Some/One from artist HollyAnna CougarTracks DeCoteau Littlebull. You might remember her large-scale artwork on view at Arts at King Street Station as part of yəhaw̓. Check out some photos of Bigfoot, the artwork referenced in her statement.

The one thing that people of all races have in common is we have our protectors. My Crow family recognizes me as a warrior, because I used to be a police officer and got shot in the line of duty, and survived. We use either elk hide or buffalo to dress our warriors, which takes on a similar shape, and sometimes paint the rawhide side with the story of that veteran. It’s a way of them owning their story and being able to wear it with pride, but it also has the sad side to it too: the death, the destruction, the pain. With my contemporary artwork, Bigfoot, there are plastic toy natives next to the head, there’s one with the war bonnet on, and he’s representing the warriors in my family. It’s about dealing with the past, with assimilation, with boarding schools, with genocide. Bigfoot talks about the foundation and accepting your past even if it’s ugly. That’s what this artwork does here too. War is not pretty. 

– HollyAnna CougarTracks DeCoteau Littlebull, artist

We also include community voices on the free smartphone tour featuring artworks from SAM’s Asian art collection. Listen to musician Deems Tsutakawa discuss this artwork and how he relates to it in his own life.

We worked to represent a variety of voices in presenting Do Ho Suh’s Some/One because the sculpture is about both the individual and collective identities. One of these voices belongs to the artist. In an interview with Art21, artist Do Ho Suh talks about the dream that inspired Some/One.

“I saw this light in the stadium, and so I thought there’s some kind of activity going on. And as I approached the stadium… I walked slowly and went into the stadium on the ground level, and then I see this reflecting surface in the dream. And I realized I was stepping on these metal pieces that were the military dog tags. And it was slightly vibrating; the dog tags were touching each other, and the sound was from that. And from afar, I saw the central figure in the center of the stadium. I slowly proceeded to the center, and then I realized it was all one piece that gradually rose up and formed this one figure…. So, that was the dream and the image that I got. After that, I made a small drawing. The small drawing was about this vast field of military dog tags on the ground and then a small figure in the center…. That was the impact that I wanted to somehow convey through that piece.”

– Do Ho Suh, artist

We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!

Photo: Jueqian Fang
Stay Home with SAM is supported in part by

Inside the Reinstalled Asian Art Museum with SAM’s Curators

Be prepared to be surprised when you are next able to visit today’s Seattle Asian Art Museum! Our curators are here to share the thinking and process behind offering a thematic, rather than geographic or chronological reinstallation of SAM’s Asian art collection.

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.

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

I ♥ Asian Art: Sharing First Impressions of the Asian Art Museum

When did you first visit the Asian Art Museum and what impression did it make on you? Before we closed SAM’s original home for a very necessary renovation and expansion, we asked visitors to share what they remember about the Asian Art Museum and why they return to the Art Deco architectural gem that houses SAM’s Asian art collection again and again. We are temporarily closed until further notice in light of the directives issued by the Governor’s office to limit the spread of the coronavirus. But, when you can visit the reimagined Asian Art Museum again, we hope you’ll make your own first impressions or be reminded of why you heart Asian art.

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

My Favorite Things: Barbara Earl Thomas on Georges de La Tour

“I just like the idea of the fact that light can be the subject.”

– Barbara Earl Thomas

Hear from Seattle-based powerhouse Barbara Earl Thomas as she shares the experience of seeing Saint Sebastion Tended by Saint Irene at SAM. More than seeing, Thomas encourages you to listen to the painting, to notice the quiet of the moment being painted.

Georges de La Tour is often mentioned as one of the many followers of Caravaggio (ca. 1571–1610), the Italian artist who pioneered the use of strong contrasts of light and dark to heighten the drama and religious feeling in his paintings. Though De La Tour probably never saw a work by Caravaggio, the innovative style spread across Europe, and the French artist first introduced his own version of “tenebrism” in this depiction of a nocturnal scene of deliverance. It was such a popular image that no fewer than a dozen other versions exist. The original painting is probably lost; this example is one of the best of the other versions, and some scholars believe it came directly from his studio and may have had his direct participation.

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

Artwork: “Saint Sebastian Tended by Saint Irene,” Georges de La Tour, oil on canvas, 42 x 55 7/8 in., Gift of Richard and Elizabeth Hedreen in honor of Mimi Gardner Gates, 2008.67.

Inside Georgia O’Keeffe: Abstract Variations

Stay home with SAM and see inside Georgia O’Keeffe: Abstract Variations, zoom in on some early O’Keeffe drawings using our online interactive, and make some art of your own following along with the activity below.

“I found that I could say things with color and shapes that I couldn’t say any other way—things that I had no words for.”

– Georgia O’Keeffe

These words from a 20th-century artist best known for her paintings of flowers and desert landscapes may be surprising. “She had a very particular iconography, so we don’t typically think of her as an abstractionist,” says Theresa Papanikolas, SAM’s Ann M. Barwick Curator of American Art. Abstract Variations offers us a chance to broaden our perspective on this celebrated artist through a focused selection of 15 of her paintings and drawings, as well as portraits of her by Alfred Stieglitz, the photographer who eventually became her husband. The accompanying catalogue examines O’Keeffe’s pioneering innovations into abstraction.

You may be familiar with Music, Pink and Blue, No. 1, O’Keeffe’s first major oil painting, now in SAM’s collection. Abstract Variations also includes Music, Pink and Blue, No. 2, a loan from the Whitney Museum of American Art, bringing these two landmark paintings together in Seattle for the first time. Experiencing them alongside other works from this pivotal period in O’Keeffe’s career offers a glimpse into her practice. “There’s a tangible tension between geometry and curvilinearity in these early works,” says Papanikolas. “When you see them in person, they look as if they’re vibrating.”

Zoom in on Georgia O’Keeffe’s Drawings »

Take a good look at all the details in these charcoal drawings from the collection of the National Gallery of Art in Washington, D.C. Like many of us right now, these precious drawings have to stay home. O’Keeffe’s earliest works on paper are extremely fragile and therefore unable to travel, but we can still enjoy them—just click or tap on the image above!

Art Making Activity

The painting above by Georgia O’Keefe is called Music, Pink and Blue, No. 1. Like many paintings the artist made, its shapes and colors are inspired by music. Can you make a drawing of a song?

  • Choose a song that makes you feel happy, sad, calm, or excited. Close your eyes and think about what you hear: What lines, shapes, and images appear? What colors do you see? What more can you imagine?
  • Find a pencil and a piece of paper and listen to the song a second time. This time, take a deep breath and let your hand move around the paper to draw lines and shapes that connect to the music. You can draw fast or slow, whatever feels natural to you. Try not to think too much, just draw and capture the images from your imagination.
  • When the song is finished, you can add to or change the drawing that you have started. You might choose to press your pencil down to shade some areas darker and leave some areas light. You might choose to erase some sections and add additional shapes and lines. You might use other materials to add color or texture to your drawing.
  • When you have finished, display your drawing on the floor, a table, or pinned onto the wall or refrigerator. See what it looks like up close and far away. Ask people around you what looking at your drawing makes them think about or feel. Does it bring any music to their mind?

These process images are an example of Lauren Kent, SAM’s Museum Educator for School Programs & Partnerships, drawing to “Wuthering Heights” by Kate Bush at her kitchen table. We want to see your artwork! Share a photo of your drawing and the song that inspired you with us via email or on social media using #StayHomewithSAM!

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

Artwork: Georgia O’Keeffe, American, 1887–1986, Music, Pink and Blue, No. 1, 1918, oil on canvas, 35 x 29 in., Seattle Art Museum, Gift of Barney A. Ebsworth, 2000.161, photo: Paul Macapia

Everything You Wanted to Know About Middle Fork

“I like to think of the sculpture as a sort of skin that’s been shed by the tree, and that it’s thickness is roughly commensurate with how long it would take the tree to grow the same thickness as the sculpture. So in a way, what we’re talking about is something that’s an ode to those two years in the life of the tree.”

– John Grade

John Grade’s large-scale sculpture, Middle Fork, echoes the contours of a 140-year-old western hemlock tree located in the Cascade Mountains east of Seattle. Suspended above the Brotman Forum at our downtown location, this massive commissioned artwork involved the help of many hands. Volunteers, including SAM Staff, contributed time and thought to the placement of each small piece of cedar that was used to create this stunning sculpture. Watch this video for an in-depth look at the process of creating this work: from working with arborists to cast the living tree, to working with art handler to install hanging sections at SAM—Grade’s installation is an impressive reminder of art’s power to bring people together under its many branches.

Art Making Activity

Eventually John Grade’s sculpture will go back to the forest and decompose back into the soil. This makes us think about the circle of life for trees and wonder how humans are connected to nature and how is nature connected to humans? What materials do we use all the time that come from trees?

Create your own sculpture of a tree using a paper bag!

  1. Find a paper bag of any size, open it and place it on a table. If you want, you can put a small square of cardboard inside the bottom of your bag to make it more stable.
  2. Make cuts from the top of your bag down to the middle of your bag. I chose to do eight cuts, but you can do more or less! This will make flaps at the top of your bag.
  3. Squeeze the bottom of your bag together and twist it as tight as you can. This will be the trunk of your tree. Just like you squeezed the trunk, squeeze together two top flaps at a time. These will be your branches.
  4. Move your branches around and look at your tree from every angle. Move your tree to different locations and build more trees to make a forest. Each one will look different.
  5. Think about the life cycle of your tree: it was a living tree, then paper, then a paper bag, and now you turned it into a sculpture of a tree. What will happen to it next? What is it like to have a tree indoors? What does it make you think about or remind you of?

We want to see your artwork! Share a photo of your tree with us via email or on social media using #StayHomewithSAM!

Story Time Suggestions

Because of an Acorn, by Lola M. Schaefer & Adam Schaefer. See the book read out loud here.
This book illustrates the interconnectedness of the natural world, showing how a tiny acorn connects to the plant and animal life of an entire forest.
The Giving Tree, by Shel Silverstein. See the book read out loud here or here.
This controversial yet classic tale can be read as a parable between humanity and nature.
The Lorax, by Dr. Seuss. See the book read out loud here.
This classic environmentalist tale reminds readers, “Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not.”

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

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

Image: Middle Fork, 2014–2017, John Grade, American, B. 1970, cedar, 105 ft. long x 30 ft. diameter, Seattle Art Museum commission, Photo: Ben Benschneider.

Art is Not a Noun, It’s a Verb: Michael Nicoll Yahgulanaas

“The real magic of Carpe Fin is in the space between the object and the observer.”

– Michael Nicoll Yahgulanaas

Hear from the artist behind the 6 x 19–foot watercolor mural commissioned for SAM. Haida artist Michael Nicoll Yahgulanaas describes Carpe Fin as “Haida manga.” This unique approach developed by Yahgulanaas blends several artistic and cultural traditions, including Haida formline art, Japanese manga, Pop Art, and graphic novels.

Inspired by a traditional Haida oral story, the story is also linked to a 19th-century headdress in SAM’s collection carved by Yahgulanaas’s relative, Albert Edward Edenshaw. Carpe Fin calls attention to issues of environmental degradation and the rupture of the values that honor human-nature interdependence.

We asked SAM staff to reflect on the work and what stood out to them by answering which panel impacted them most. Have you seen the artwork at SAM or read the book? Read some reflections below and share your thoughts with us in the comments!

  • The very center panel—it’s more free form so it draws the eye. It’s the moment when Carpe realizes he’s been left behind on the island. His phases of expression and gesture really struck me.
  • The central panels—frames break down, creative topsy-turvy!
  • The third panel (upper center) for the transition from the human to the underwater world. The contrast of thick, thin, and detailed brushwork make it come alive.
  • The middle panels stand out because of the dynamic between the sea lions and humans. There’s a chaotic structure that reminds me of the circle of life, but it also shows an imbalance.
  • The central panel and how it just seems to come alive and break out of the typical comic book boxes/outlines; the overall image captivates your attention and makes you want to keep looking at the intricate, smaller details.
  • I was most impacted by the panel in which Carpe swims back wearing sewed-up seal skin. There is something about embodying the animal that he had been killing. I wonder how much the message of “you’re killing our women” would have sunk in without this physical experience or if he would have heard it in a different way?
  • I’m most impacted by the panel where the young boys kill a flicker. This senseless, purposeless killing of a living thing in a microcosm of the imbalance and lack of respect for the environment that has created dire circumstances for this community and communities across the globe. The energy that youth are bringing to climate activism lies in contrast to this detail and gives hope for the future. We all need to take responsibility and enact laws and regulations that will ensure the survival of future generations.
  • All of them together

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

Images: Carpe Fin (details), 2018, Michael Nicoll Yahgulanaas, Haida, b. 1954, watercolor and ink on handmade Japanese paper, 6.5 x 19.7 ft., Seattle Art Museum, Ancient and Native American Art Acquisition Fund, McRae Foundation and Karen Jones, 2018.30, © Michael Nicoll Yahgulanaas.

I ♥ Asian Art: Making Memories at the Asian Art Museum

Before closing for renovation, we asked visitors to the Seattle Asian Art Museum to tell us why they love Asian art and what excited them about our plans for the museum’s future. The Asian Art Museum reopened on February 8, but is currently closed for the wellbeing of our staff, volunteers, and visitors in light of the directives issued by the Governor’s office to limit the spread of coronavirus. Meanwhile, we are sharing these thoughts to help us all consider why we love the Asian Art Museum.

Today’s Asian Art Museum is inspired. The newly renovated and expanded 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. Learn more about today’s Asian Art Museum.

If you value the ways SAM connects art to your life, consider making a donation or becoming a member today!

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