Curator Yayoi Shinoda on the Traditional Japanese Art of Mended Ceramics

Seattle Art Museum on Jan 9 2024

Curator Yayoi Shinoda on the Traditional Japanese Art of Mended Ceramics

SAM’s Gardner Center for Asian Art and Ideas presents the 2023–24 season of the Saturday University Lecture Series, exploring various topics loosely inspired by the exhibition Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston at the Seattle Art Museum. On Saturday, January 13, Yayoi Shinoda, Assistant Curator of Japanese Art at the Nelson-Atkins Museum of Art will offer a discussion on the Japanese tradition of mending damaged ceramics to bring them renewed life. In advance of her talk, SAM spoke with Shinoda about what visitors can expect to learn about in her upcoming talk, how her research on mended ceramics began, and the intimacy of this time-honored practice.

SAM: What can the public expect to learn about in your upcoming Saturday University lecture? What initially drew you to this topic?

YAYOI SHINODA: My presentation will focus on the practice of mending ceramics in Japan’s Edo period (1615–1868). The ceramics I highlight were used in tea practice and cherished by their owners, and their restored bodies embody the care they received. Some repairs were made visible intentionally—with some including gold embellishments—that bestowed a new a significance to the original ceramic work. Today, this practice of visible mending is fondly called kintsugi, and has garnered the attention of scholars from a variety of specialties, including psychologists.

My research on this topic began several years ago when I wrote a term paper for a seminar I took at the University of Kansas. The course focused on the transcultural exchanges between Korea and Japan from ancient times to today. One of the areas I love to research is ceramics, so I decided to study a 16th-century Korean bowl that became a tea bowl in Japan. The large bowl is made of a porous, soft porcelain and features a dramatic repair of golden filling along its body. It is such a fascinating work and I knew I had to learn more about it. I had many questions: What is up with this dramatic change? Why and how did that happen? Are there more examples like this? When did this kind of mending begin? After that semester, I continued to study that bowl and others like it. Eventually, Dr. Halle O’Neal invited me to dive into the topic further. My presentation at this January’s Saturday University will be based on my scholarly article on mended ceramics that was published last year.

SAM: Academic research often involves travel. Is there a travel experience related to your lecture experience that you could share with us?

YS: My research journey took place during the height of the COVID-19 pandemic, so I could not travel anywhere, not even locally. However, the Nelson-Atkins collection has some ceramics with visible mends, so I was able to study them. Also, thanks to the dedicated librarians, museum colleagues, and other professionals throughout the US and Japan, I was able to access resources remotely. I was fortunate to meet lacquer artists such as Naoko Fukumaru in Vancouver, BC and Gen Saratani in New York via Zoom. And I hope to visit them soon now that we are back to traveling more. Their insights were critical for me in thinking through the meanings of different repair methods and philosophies.    

In assessing the Nelson-Atkins’s collection of mended ceramics side-by-side, I found myself considering the intimate connection shared between the tea bowls and their owners, whose names may be known or unknown to us today. The works also display the owners’ taste and sensibility, which likely guided the mending technique and material choice. Another issue that emerged during my research was how little we know about the people who mended these works or when they underwent their bodily change. Although I intend to introduce a few examples of recovery stories in my lecture, many tea ceramics’ physical transformation processes are unrecorded. This is the focus of my ongoing research and may require me to travel in the coming months. Looking to the future, I would also love to learn more about how tea practitioners in the Edo period used the ceramics they had mended.

SAM: The Seattle Art Museum is home to nearly 25,000 works of art. What’s one artwork from the museum’s collection that resonates with you? Why?

YS: There are three objects in SAM’s collection that pique my interest. One is Tea Powder Container from the Edo period. The bags made of exquisite textiles speak to the immense significance the owner placed on the container, which is important in thinking about human-object relationships. The second example I love is this beautiful Tea Bowl (“Fuji”) by Ryōnyū (Raku IX; Japanese, 1756–1834). The area in which the glazed and unglazed segments meet creates a striking landscape that resembles Mount Fuji. The lens to see this kind of “accidental” effect as a landscape also applies to appreciating mended ceramics’ transformed bodies. Lastly, I want to spotlight Tea Cup, named “Red Plum in Winter,” by Dōnyū (Raku III; Japanese, 1599–1656) because of its charming and carefully mended embellishments made with gold powder. The fine golden lines gently transform the cup’s body, while also testifying to the care it received from its owner.

SAM: What’s one book you’d recommend to those interested in learning more about your lecture topic?

YS: This is a tough question to answer because of the many informative resources that already exist. Here are a few recommendations to get you started:

– Simon Tran, SAM Manager of Public Engagement at the Seattle Asian Art Museum

Photos: Courtesy of Yayoi Shinoda. Tea Bowl, Japan, late 16th to early 17th century. Glaze stoneware (Karatsu ware) with lacquer mending. Overall: 3 x 5 1/2 inches (7.6 x 14.0 cm). Purchase: William Rockhill Nelson Trust, 32-62/6. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Tea Bowl, Japan, late 17th century. Stoneware with pinkish white crackle glaze (Gohonde ware) with lacquer mending. Overall: 3 1/2 x 5 5/8 inches (8.9 x 14.3 cm). Purchase: William Rockhill Nelson Trust, 32-62/2. The Nelson-Atkins Museum of Art, Kansas City, Missouri.

The Power of Storytelling in Art Curation: Emerging Arts Leader Elizabeth Xiong Reflects

Seattle Art Museum on Jan 3 2024

The Power of Storytelling in Art Curation: Emerging Arts Leader Elizabeth Xiong Reflects

My first recreational adventure after settling in Seattle in 2021 was to SAM. As I had just recently decided to pursue a second degree in art history, I felt strangely comfortable throughout my visit. I left the museum that day filled with countless stories told through the installations, a growing curiosity for art curation, and a hope that I would be back soon.

And lucky for me, that desire came true. Working under the supervision of Theresa Papanikolas, SAM Ann M. Barwick Curator of American Art, as an Emerging Arts Leader Intern over the last few months has allowed me to explore what curators do. As part of my role, I was tasked with research and writing supplementary information for the upcoming exhibition Jaune Quick-to-See Smith: Memory Map. Opening Thursday, February 29 at SAM, the retrospective will survey five decades of Smith’s (Confederated Salish and Kootenai Nation) work. My work focused on researching and creating an in-gallery display for the exhibition that highlights the artist’s relationship to Seattle.

My research began with sifting through existing scholarship and archival materials on Smith. The more I read, the more I came to understand her as a leading contemporary Native American artist who examines American life by engaging with powerful ideas of Indigenous memory, culture, and history. Although I compiled a hefty list of Seattle public art, exhibition, and curatorial projects she participated in, I felt that it lacked cohesion since the documents appeared separate from existing discussions of her work. How, then, could I organize them together in a display case?

I temporarily filed these questions away as I sifted through 150 newly acquired scans from Smith’s personal archives dating from 1996 to 1998. These digitized letters outlined years of correspondence regarding the West Seattle Cultural Trail, a public art project she created alongside local artists Donald Fels and Joe Fedderson (Okanogan and Arrow Lakes).

As I meticulously pieced together these lengthy conversations, I watched the project unfold from a front row seat. It gave me a glimpse into the public arts process, the intentionality required, and the communications exchanged between differing personalities. I thought back to the initial questions Theresa encouraged me to consider within my work: What is Smith’s presence in Seattle? How do we illustrate it? I then recalled an interview in which Smith was quoted as saying, “All of our stories, all of our origin stories come out of the land.” Her words led me to reevaluate the trail’s physical dependence on land and its goal to “share in the collective memory of the West Seattle community.” 

Suddenly, the collaborative storytelling throughout her oeuvre did not exclude what she accomplished in Seattle. From the trail, my project expanded outwards into three main themes for the display: her dedication to teaching, and the importance of language in her practice, and the role collaboration has played throughout her career. Regarding the retrospective, Smith says “in this long journey, it is step by step, hand over hand, something like climbing a rope.” Therefore, my goal became to guide visitors to see Seattle as a crucial strand in the rope she climbed.

To demonstrate Smith’s dedication to education, her correspondences with Donald Fels revealed their shared interest in involving local students in the project’s development. Smith was adamant that the trail give visibility to hidden stories, and the accompanying Voices of the Community booklet gave students the opportunity to share their perspectives through poetry. Her commitment to education also extends beyond the trail to her other public works, lectures, and children’s workbooks. Considering how her Olympic Junior College art teacher once told her “she could teach… but she shouldn’t count on being a painter,” she powerfully accomplished both. Therefore, when she said “I go out and teach… that’s what my life is about, my work is about,” it is important that our illustration of her presence in Seattle brilliantly reflects this.

That said, the trail allows other dimensions of teaching in her practice to be explored, such as writing. Countless letters between Smith and other Indigenous colleagues reveal that the Native stories told on the trail are intended to teach visitors, and that their accuracy was of the utmost importance.

This intricate combination of writing and collaboration is evident throughout her own curatorial practice, which first blossomed in Seattle. In each exhibition, she approached texts intentionally because writing inclusively “[showcases] the voices of Native artists.” As a curator, her exhibitions helped propel the trajectory of Native recognition in the arts, in turn increasing visibility for new artists. Altogether, her curatorial practice emphasizes that writing and “networking [are] as much for her artistic medium as paint and canvas.”

Lastly, Smith’s insistence on collectivity through collaboration is not limited to her immediate Native community. Her cooperation with other artists of color is a lesser known fact, despite her clear belief that “passion for our art and for one another,” commitment “to narrative work,” and a “strong sense of survival” bonds them together. Therefore, as part of this last theme, which explores Smith’s involvement with Asian Americans through the trail project, I hope to challenge this chronically overlooked detail. 

Numerous letters reveal Smith’s dedication to including Asian American voices in retelling the history of Alki Beach. She spent weeks researching, and gaining approval from local experts and friends to ensure that the communities would be “proud of what is there.” With these letters, I hope to underscore how the diverse experiences and relationships that influence her are not constrained by gallery walls. These strands of her personal history may not be immediately apparent on the surface of her artworks, but through her ties to the city we share, they come to life. 

As a result of my in-gallery contributions to Memory Map, I hope visitors leave SAM with a clear understanding of how Smith and her relationship to Seattle do not stand in isolation. Their interconnectedness leaves room for the viewer to contemplate how their presence in the exhibition’s galleries is also an act of collaboration and learning with Smith. Therefore, it is important that her voice rings throughout my work, such that the answer to her question “can I take these feelings and attach them to a passerby?” is an overwhelming yes. 

I went into this internship eager to peel back the mysterious layers of museum work, in order to discover what processes are involved in curating exhibitions. Sitting at my desk in the corner of SAM’s administrative offices, I was initially afraid that I would feel alone. However, that sentiment couldn’t have been further from the truth. As I uncovered the intentional collaborations that flowed through Smith’s storytelling, I realized the same started swirling into mine. Through this experience, I found myself learning how to research unfamiliar topics with courage, and approach art curation as a storyteller. This growth was only possible because of the incredible SAM staff, who I want to take the time to thank.

I truly started to see curatorial work as storytelling after my lunches with Museum Educator for Digital Learning Ramzy Lakos, where he also encouraged me to use Smith’s own voice to frame my in-gallery display. It was after an insightful conversation with Catharina Manchanda, SAM Jon and Mary Shirley Curator of Modern and Contemporary Art, that compelled me to incorporate Smith’s involvement with other communities of color. I want to thank Carrie Dedon, SAM Assistant Curator of Modern and Contemporary Art, for reminding me to courageously explore the intersections of my studies and extend a special thank you to my cubicle-mate, Danelle Jay, SAM Curatorial Print and Content Associate, for always lending a listening ear, and reminding me that our storytelling should relate to people. Most of all, I want to thank Theresa, for her indispensable expertise, patience, and genuine collaborative spirit that has made my SAM internship an incredible experience.

As my internship draws to a close, I look forward to seeing how my display comes to life when Memory Map opens at SAM this spring and urge you to visit the West Seattle Cultural Trail in the meantime. I am excited to take everything I have learned at SAM into my future endeavors, and am looking forward to where I next go.

– Elizabeth Xiong, SAM Emerging Arts Leader in Curatorial

Photos: Alborz Kamalizad.

Hokusai Smartphone Tour: White Cyclamen I

Lily Hansen on Jan 2 2024

Hokusai Smartphone Tour: White Cyclamen I

As a founding member of the 1970s Pattern and Decoration movement, American artist Robert Kushner favors geometric and floral patterns within his work. Like many of the artists in this movement, Kushner resisted conforming to the minimal compositions that dominated American artistic conventions at the time, opting instead to look beyond the nation’s borders for artistic inspiration. 

His 1999 painting, White Cyclamen I, on view as part of Hokusai: Inspiration and Influence from the Museum of Fine Arts, Boston at SAM, features aesthetic resonances from Islamic tile work, Iranian carpets, and Japanese ceramics and woodblock prints. As part of the free smartphone tour of the ongoing SAM exhibition, Kendall DeBoer, Curatorial Assistant in the Department of Contemporary Art at the Museum of Fine Arts, Boston, spoke directly with the artist about how the work of historic Japanese artists, including Katsushika Hokusai, influenced the creation of this work and many others across Kushner’s oeuvre.

Tune in to this recording blick clicking the link above or by scanning the QR code adjacent to this artwork in the exhibition’s galleries. Listen to all seven stops of the audio tour of Hokusai: Inspiration and Influence via our SoundCloud. The exhibition closes later this month on Sunday, January 21. Don’t miss out—reserve your tickets to see it at SAM before it’s too late!

White Cyclamen I, 1999

KENDALL DEBOER: In the mid-1970s and 1980s, the Pattern and Decoration movement in the United States declared independence from the reigning Western aesthetics of masculinist Minimalism and defied Modernism’s rejection of ornamentation. Reveling in beauty and looking to global influences, Robert Kushner is considered one of the founders of this significant movement in American art. His colorful, blossoming, exuberant, sparkling canvases incorporate transhistorical points of aesthetic reference, including but not limited to Japanese woodblock prints. The magnified florals, like White Cyclamen I, pay homage in particular to Hokusai’s large flower prints.

While working on this exhibition, we were in touch with the artist directly. Thinking about Hokusai and his relevance to contemporary artists, Robert shared the following thoughts, which I will read on his behalf:

“When I look at the flower compositions of Hokusai, and indeed other Japanese masters, I am always drawn to the precision of line, the exactness of observation of the plant forms, and the grace with which they inhabit an open indeterminate flat space. Even more inspiring to me is the intentional and skillful flattening of the drawn lines. A single thin line can enclose the form of a flower’s petal or leaves, allowing the flat, unshaded white paper behind to create a three-dimensional volume. In my own paintings, such as White Cyclamen I, I try to paint with my own version of this manner of engaged, enlivened, observed, accurate, delicate, bold lines. Looking one way, the curving whiplash lines of my cyclamen and its leaves are scattered shapes on the colored surface behind them. But then, there is a magical moment when those lines coalesce into the volumetric form of the living flower that is before me. This is a wonderful lesson to be offered by Hokusai, a Japanese painter and printmaker from two hundred years ago.”

– Lily Hansen, SAM Marketing Content Creator

Image: White Cyclamen I (detail), 1999, Robert Kushner, American born 1949, oil, acrylic, and gold leaf on panel, Courtesy of the artist and D.C. Moore Gallery, New York, NY.

Hokusai Smartphone Tour: Chemical Falls

Lily Hansen on Dec 19 2023

Hokusai Smartphone Tour: Chemical Falls

Katsushika Hokusai’s influence knows no bounds. Nearly four centuries after his death, the Japanese master and his woodblock prints continue to inspire the work and practice of contemporary artists. One such artist is Merion Estes.

With strong ties to early Los Angeles feminist art spaces and a pioneering role in the Pattern and Decoration movement, Merion Estes typically depicts landscapes and seascapes. She combines found imagery from printed fabrics with collaged materials and spray paint to build up lively texture and vivid color, often with a political tone. In Chemical Falls, on view in Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston at SAM, Estes blends visual pleasure with the horror of environmental crises, specifically citing Hokusai as an influence on her ongoing treatment of natural scenes.

Learn more about this 2016 work from Kendall DeBoer, Curatorial Assistant in the Department of Contemporary Art at the Museum of Fine Arts, Boston, by tuning in to the fifth stop of the exhibition’s free smartphone tour. Explore all seven stops on the tour by scanning the QR code adjacent to select artworks in SAM’s galleries or on your own time via SoundCloud. Hokusai: Inspiration and Influence closes on Sunday, January 21. Reserve your tickets to see Estes’s work, alongside more than 300 artworks by Hokusai and his contemporaries, now!

Chemical Falls, 2016

KENDALL DEBOER: Chemical Falls by Merion Estes is a more recent example of a theme the artist has frequently visited throughout her over fifty years of art making: beautiful landscapes and environmental degradation. As is her process for many of her artworks, Estes created Chemical Falls by combining collage elements with a section of found, printed, mass-produced fabric, which she then spray painted in high-keyed and striking colors. Building up layers of pigment and texture, Estes presents us with a breathtaking waterfall that is as alluring as it is otherworldly—and laced with the sinister specter of polluted waters.

Born in Salt Lake City, Utah, in 1938, Estes received her BFA in 1970 at the University of New Mexico. She then quickly earned her MFA in 1972 at the University of Boulder Colorado before moving to Los Angeles, California. In LA, Estes would become a key figure in early feminist arts organizations like Womanspace and Double X. She was also part of the Pattern and Decoration movement in the United States, which often intersected with feminist art concerns. Pattern and Decoration artists rejected the austerity of Minimalism and Conceptualism, which they felt relied on sexist and racist assumptions, in favor of championing ornament, aesthetic beauty, and artistic production traditionally categorized as “women’s work,” like fiber arts. These interests persist in Chemical Falls, with its fabric basis, layers of patterned land masses, and geometric striations of water.

Many pattern and decoration artists felt the European canon of Western art history was too narrow in scope and therefore looked elsewhere for artistic precedents. Quite a few of these artists found inspiration in Japanese prints, including Estes, who has looked to Hokusai as an ongoing influence throughout her career. The intense verticality and perspectival view of Chemical Falls feels in direct conversation with Hokusai’s series A Tour of Waterfalls in Various Provinces. Comparing Chemical Falls to Hokusai’s work The Amida Falls in the Far Reaches of the Kisokaidō Road from 1832 reveals similar treatment of linear falls pouring between curving, earthy cliffs dotted with sprigs of green vegetation. Each work features a circular form near the top of its composition, perhaps a source for the waterfalls. These parallels show the continued relevance of Hokusai in Estes’s work.

– Lily Hansen, SAM Marketing Content Creator

Image: Chemical Falls, 2016, Merion Estes, American, born 1938, printed fabric and spray paint on canvas, courtesy of the artist.

Muse/News: Museum Gifts, Unique Bonsai, and Emotional Maps

Rachel Eggers on Dec 18 2023

Muse/News: Museum Gifts, Unique Bonsai, and Emotional Maps

SAM News

Lee Carter for Artnet on Calder: In Motion, The Shirley Family Collection at SAM, sharing reflections from collectors Jon and Kim Shirley about Alexander Calder’s art and why they wanted to gift their collection to SAM.

“Ultimately, it was important to keep the Alexander Calder pieces together, all at SAM. ‘Museums are great public institutions,’ said Shirley. ‘For years we have lent our Calders to exhibitions in other parts of the country and around the world. It’s clear to me that museums are where they belong and we should work as hard as we can to make museums vital institutions.’”

The Stranger includes SAM Gallery’s Printing the PNW show on their list of “best bang for your buck” events. We can’t say it better than them:

“After peeping legendary Edo-period Japanese ukiyo-e artist Katsushika Hokusai’s woodblock prints, paintings, and illustrated books (yes, including Great Wave, plus a LEGO interpretation of it) on view at Seattle Art Museum, why not drop by SAM Gallery to scope out Japanese-inspired prints created by local artists?”

Local News

“Cinerama — ahem, SIFF Cinema Downtown — is back”: The Seattle Times’ Moira Macdonald reports from the reopened theater.

Crosscut’s Brangien Davis’s latest ArtSEA post bids farewell to Wier Harman, recommends Black Nativity at Intiman Theatre, and spotlights some solstice events. 

Here’s NW Asian Weekly on Irene Taylor’s new HBO documentary about a unique 82-year-old bonsai that lives at the Pacific Bonsai Museum.

“… its seeds were sent to Japanese American Juzaburo Furuzawa during his internment under Executive Order 9066 in World War II…The Furuzawa Pine gained international attention in February 2020 when it was stolen from the Pacific Bonsai Museum, only to be mysteriously returned less than 72 hours later.”

Inter/National News

Revisit “The Defining Art Events of 2023,” courtesy the editors of ARTnews.

The Art Newspaper offers this remembrance of sculptor Richard Hunt, who passed away at the age of 88. 

“A World Map With No National Borders and 1,642 Animals”: The New York Times’ Natasha Frost on cartographer Anton Thomas’s “Wild World.”

For Mr. Thomas, this equates to a kind of “emotional geography,” where features with greater emotional heft — the New York City skyline, say, or the Golden Gate Bridge — may take up more space. “There are animals the size of mountain ranges on my map,’ he said. ‘But you know what? The African lion should tower over Kilimanjaro, if we’re drawing an emotional map.””

And Finally

What is a solstice, anyway?

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Chloe Collyer.

Envisioning My Future in Arts Education: Emerging Arts Leader Zakaria Sadak Reflects

Seattle Art Museum on Dec 15 2023

Envisioning My Future in Arts Education: Emerging Arts Leader Zakaria Sadak Reflects

If you had asked me about my career plans a year or two ago, I would not have guessed that working at the Seattle Art Museum was in my future. It wasn’t until my first year of college when the histories, values, and principles embedded in my surroundings captured my full attention and academic interest. It left me with no choice but to abandon my math and economics studies in favor of art history. Combined with my latent interest in Korea, as fostered by a childhood richly patterned with Korean objects and visual culture, I chose to pursue a career in museums to further learn and digest my history through the lens of Korean art history.

It is with this background that I entered the Seattle Art Museum for the first time this past January. Though I grew up in various parts of Washington, visiting the Seattle Art Museum had always evaded me. I came to SAM with an interest in art history and connecting students to art, so my work within the institution’s education department creating educator and student materials was particularly relevant. Through all of this work, my supervisor SAM Manager of School & Educator Programs Yaoyao Liu’s mentorship and guidance was crucial.

Aside from putting up with my many (many) questions as I became acquainted with everything, Yaoyao and other colleagues in the education division were the resident experts who helped me get through it all and eventually join them as a staff member. Though general visitors may not be impacted by my work, I want to plug the SAM educator and student offerings. My work creating art activities and in-gallery materials with the exhibition Ikat: A World of Compelling Cloth and the traveling exhibition Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston will be available for students to work on in their classrooms and at home, as well as the numerous offerings created by colleagues.

A notable highlight of my internship was my work with Korean objects from SAM’s collection, on view at the Seattle Asian Art Museum. In March, I offered a presentation to museum staff and the public on a four-panel chaekgeori screen and wooden chest as furnishings in Joseon homes. Through research on these objects, I grew to value the ambiguity of the objects a museum sees come through its doors. That is to say, my research of these objects through the Emerging Arts Leader Internship afforded me the opportunity to break up the polished object lists that neatly fit into textbooks, coursework, and curriculums with objects I might not otherwise encounter.

The Seattle Art Museum is a space to thoughtfully learn about and digest information on a diverse collection of culturally significant artworks. I began my internship at SAM with a limited understanding of museums and am leaving with a clear vision for my future in the museum field and art history. With a two-pronged goal of further understanding Korea’s art history and bridging the gap between esoteric arts research and the public, I can’t help but be sad that I am leaving the work at SAM so soon. As a visitor, intern, and staff member, I certainly have been able to explore where my interest in historical Korean art and I might fit in a museum.

By no means will this exploration end with my time as an intern at the Seattle Art Museum. I am thankful for the support of everyone at the museum both throughout the internship and ongoing as I resume studies in Chicago and begin my next role at the Smart Museum of Art. I want to offer a final thanks to Yaoyao, everyone in the education division, SAM Human Resources & Intern Programs Coordinator Samuel Howes, and my fellow interns for creating the bright, welcoming, and uplifting environment at SAM.

– Zakaria Sadak, SAM Emerging Arts Leader in School & Educator Programs

Photos: Natali Wiseman & Chloe Collyer.

SAM Shop Holiday Gift Guide

Seattle Art Museum on Dec 14 2023

SAM Shop Holiday Gift Guide

SAM Shop is the year-round destination for uncommon objects, including contemporary design for the home, toys for kids, jew​elry by local artists, art and design books, and more. During this festive time of year, we’re sharing some of our favorite gift ideas for anyone on your list.

From upper left-hand corner, clockwise:

From Chaos to Creativity book, $14.95 / Rabbit Carrot Car, $19.95 / Toyo Steel Company Box, $32 / Akashiya Gansai Watercolor Set, $32 / SAM Paintbrush Pencil, $3.50 / Sam Scott Ceramic Mug, $54 / Toyo Steel Company Box, $32 / Melissa Stiles “Picasso” Necklace, $210 / Wallace Sewell Wool Scarf, $82 / Alessi Fior d’Olio Oil Bottle, $70 / Hokusai The Great Wave Reusable Bag and Pouch, $16.99 / Akashiya Ceramic Paint Palette, $20 / Toyo Steel Company Box, $32/ SAM Beanie in Kelly Green, $21.95 / Jonathan Adler Wood Domino Set, $40.

SAM Shop is located on the street level of the Seattle Art Museum, on 1st Avenue between Union and University Streets. Note that some items are available in-store only, but there are also many gems available online. SAM Shop is open during museum hours, and visitors to Hokusai: Inspiration and Influence won’t want to miss related specialty items at the exhibition shop in the fourth floor galleries.

Plus: Don’t miss the After-Hours Shopping Event on Thursday, December 21! SAM Shop & Gallery, as well as MARKET Seattle, will be open until 8 pm for your last-minute shopping needs. Ask about items you found in this holiday gift guide or other ideas the sales associates may have. Perks for this night include free gift wrap services on one item (normally $5 per item) and light refreshments while you shop. And at MARKET Seattle, enjoy a gift card purchase promo and signature holiday cocktails with wintry themes.

This article first appeared in the October 2023 through January 2024 edition of SAM Magazine and has been edited for our online readers. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks!

Photos: Alborz Kamalizad.

Muse/News: Cora’s Take, Arts Funding, and Guide Dog Art

Rachel Eggers on Dec 11 2023

Muse/News: Cora’s Take, Arts Funding, and Guide Dog Art

SAM News

“The shadows look like airplanes!” That’s 7-year-old art critic Cora Hunter on Alexander Calder’s Little Yellow Panel (1936). Read all her impressions in Elizabeth Hunter’s “mother-daughter review” of Calder: In Motion, The Shirley Family Collection. Hunter also features insights from Jose Carlos Diaz, exhibition curator and Susan Brotman Deputy Director for Art, and Anna Allegro, Associate Director of Education.

In their “Things to Do” list, Seattle Met highlights Printing in the PNW at SAM Gallery, which features local printmakers as a companion show to the museum’s exhibition of Japanese prints, Hokusai: Inspiration and Influence.

And speaking of SAM Gallery: It got a shoutout from curator Jeremy Buben in “How to give art as a holiday gift in Seattle,” an article by Margo Vansynghel of The Seattle Times. 

“‘For $100, you can rent an artwork at SAM Gallery [the art sales and rental gallery of the Seattle Art Museum] for three months,’ he said. ‘Perhaps this is the nudge your friends need to start getting excited about art; plus, it’ll get them involved in picking something out to temporarily live with.’”

Local News

Crosscut’s Brangien Davis shines a light on “10 photo shows that bring light to Seattle’s dark days.”

Did you see The Stranger’s Keep Warm guide? It’s got tips, recipes, interviews and more.

“King County OKs sales tax increase for ‘transformative’ cultural funding.” The Seattle Times’ Margo Vansynghel reports on the council’s approval of “Doors Open,” a new levy.

“…the Metropolitan King County Council unanimously approved a new levy that will provide hundreds of millions in funding to arts, heritage, science and historical preservation nonprofits over the next seven years.”

Inter/National News

“Unsung Women Fashion Designers Finally Get to Strut at the Met”: Artnet’s Raquel Laneri on the Women Dressing Women exhibition.

Maximilíano Durón of ARTnews on “the best booths at Art Basel Miami Beach.”

Via Hilarie M. Sheet for The New York Times: “Her Guide Dog Inspired Her Art. Now the Lab Stars in a Museum Show.”

“It celebrates her 13-year-old guide dog, London, and their mutual dependency. ‘I protect her and she protects me,’ [artist Emilie] Gossiaux said. On a more universal scale, her art seems to remove barriers between animals and the rest of the natural world.”

And Finally

Via AP: “Photographs capture humpback whale’s Seattle visit.” As the whales breached Elliott Bay waters, we spy The Eagle and the Olympic Sculpture Park in the background!

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Alborz Kamalizad.

TAG Talks: A Well-Known Wave and My Newfound Appreciation

Seattle Art Museum on Dec 6 2023

TAG Talks: A Well-Known Wave and My Newfound Appreciation

SAM’s Teen Arts Group (TAG) is an intensive internship program for high school-aged youth who are eager to learn about themselves and the world through art, and are excited to make SAM a fun and engaging space for teens. TAG members meet weekly from October to May to learn about the behind-the-scenes work of an art museum, lead engaging gallery tours, plan Teen Night Out, and so much more. TAG Talks is an ongoing SAM Blog series on SAM Blog that serves as a space for SAM’s teen leaders to express themselves and their love of art. Keep up with all TAG adventures by following @samteens on Instagram and stay tuned for more TAG Talks to come!

The iconography of the woodblock print Under the Wave off Kanagawa by Katsushika Hokusai, commonly referred to as the Great Wave, is omnipresent.

I was initially turned off by the Great Wave’s ubiquity in the public sphere. Growing up surrounded by lovers of niche art, the Great Wave never struck me as anything special. It’s become so commercialized that even my friends far outside of the art scene have tote bags or stickers sporting the iconic image. Thinking its presence in the media was tacky and overused, I failed to truly look closely or consider the print’s value.

Although I was never the Great Wave’s biggest fan, I am an artist and printmaker myself and love to study Japanese printmaking techniques. I was excited to see the Great Wave’s creator and prolific printmaker Katsushika Hokusai’s work in person in Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston at the SAM. Anticipating the visit, I told my partner about the exhibition, highlighting everything except the Great Wave. Upon hearing I would see the famous print, he had a much more emotional response than I was expecting. I asked him how the art made him feel. He said, “It feels like ripping.”

The print depicts three boats cradled in the belly of a giant cresting wave framing Mount Fuji. The wave is a great magnanimous force, the boats borrow the ocean’s space. For the moment, the boats seem to become the wave. It is from the series Thirty-Six Views of Mount Fuji, each piece featuring a different landscape framing the mountain. The subjects of the 36 prints interact with the landscape harmoniously, human technology and nature are connected in this beautiful cycle and struggle. The Great Wave stands out from the rest because it is separate from the human ego. The wave doesn’t care what might be in its way; it tears. A beautiful reminder that humans are not gods, we cannot stop a wave from crashing down on us.

The Great Wave reminds us of the physicality and brutality of nature. There’s no room for metaphor or projection onto the ocean—it just is. The wave neither combats nor engages in human invention; it simply exists.

With my cohort of peers in SAM’s Teen Arts Group (TAG), we had the pleasure of learning from teaching artist Juliana Kang Robinson about woodblock carving and printing. I love linoleum carving and have spent years making prints, usually to put on my clothing or bags. Learning wood printing was special to me as there is something magical about how one has to work with the grain of the wood when they carve. It was an extra challenge for me, who was used to the careful precision I could execute on plastic, but it added so much life and character to have places where the wood texture was present. I am so grateful for this experience and encourage teens to not be afraid to branch out into exploring new mediums of art.

– Gwyneth Febus, 18, Third-Year Teen Arts Group Leader

Images: L. Fried. Under the Wave off Kanagawa (Kanagawa-oki nami-ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), about 1830–31 (Tenpō 1–2), Katsushika Hokusai, Japanese, 1760–1849, woodblock print (nishiki-e); ink and color on paper, Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, Photograph ©️ Museum of Fine Arts, Boston.

Hokusai Smartphone Tour: Under the Wave off Kanagawa

Lily Hansen on Dec 5 2023

Hokusai Smartphone Tour: Under the Wave off Kanagawa

If there’s one work by Katsushika Hokusai you’ve definitely seen before, it’s Under the Wave off Kanagawa. More commonly referred to as the Great Wave, this iconic woodblock print has been cited everywhere from book covers to Lego sets, anime, and even an emoji (🌊). To offer a closer look at this infamous print, Dr. Sarah Thompson, Curator of Japanese Art at the Museum of Fine Arts, Boston, called in an expert: Dr. Christine Guth.

On the fourth stop of the free smartphone tour of Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston at SAM, Dr. Guth, author of Hokusai’s Great Wave: Biography of a Global Icon, explains how this work became a global icon. Put plainly, the Great Wave’s strength is in its broad applicability across time and space.

Many first time viewers of the original print find themselves surprised by its small size, she explains, as the work has been reprinted an infinite number of times in various proportions, skewing our perception of its original size. However, with its commanding depiction of a wave, it’s been interpreted a multitude of ways, including as an expression of the powerful force of nature.

Listen to the recording now for Dr. Guth’s full discussion of the Great Wave. All seven stops on the free audio tour of Hokusai: Inspiration and Influence can be accessed via QR code in SAM’s galleries or on our SoundCloud. The exhibition closes in just over a month—get your tickets to see it before it’s too late!

Under the Wave off Kanagawa, about 1830–31

DR. SARAH THOMPSON: Dr. Christine Guth is one of the most distinguished scholars of Japanese art in the English-speaking world. Her book Hokusai’s Great Wave: Biography of a Global Icon was a huge help to me in planning this show, and I am delighted that she has agreed to tell us more about it in person.

DR. CHRISTINE GUTH: So, maybe this is the first time you’ve looked at this print in the original. And when you see it in reproductions you have the impression that it’s a huge work of art, but it’s very small. And it wasn’t intended as a unique work of art, but was printed many, many times. There were probably about 3,000 impressions made during Hokusai’s lifetime. It had a huge impact on Hokusai’s contemporaries, but they would’ve looked at it very differently than we do today. For instance, as you look at the print today, probably the first thing you notice is the giant cresting wave with its rather menacing claw-like extensions.

And then, you see the tiny Mount Fuji in the background. Now, certainly Hokusai’s Japanese contemporaries would have seen that as well, but they may have paid more attention than we do to the boats cutting through the waves, because Hokusai intended this image to represent a particular moment in time and place. And what it suggests is boats carrying the first catch of bonito of the season from the fish market in Osaka to Edo, because fresh sashimi made from bonito was a real delicacy.

One of the distinguishing qualities of the series of Thirty-six Views of Mount Fuji is not only that it shows the mountain from many different vantage points, but it captures it at different seasons and different points in the day. And I think that this print evokes that in the sense that the first catch was usually in the fourth month. That would be May today. So, there’s a very strong seasonal quality to the series. Today when people look at this print, some people see it as threatening and some people see it as an expression of the force of nature. And in fact, that was used very often after the terrible tsunami in Japan in 2011. And one of the great strengths of this print is the way it can speak to so many people across time and space. That’s what’s made this a global icon.

– Lily Hansen, SAM Marketing Content Creator

Image: Under the Wave off Kanagawa (Kanagawa-oki nami-ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), about 1830–31 (Tenpō 1–2), Katsushika Hokusai, Japanese, 1760–1849, woodblock print (nishiki-e); ink and color on paper, Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, Photograph ©️ Museum of Fine Arts, Boston.

Muse/News: Vital Traditions, CID Santas, and Zen Mona Lisa

Rachel Eggers on Dec 4 2023

Muse/News: Vital Traditions, CID Santas, and Zen Mona Lisa

SAM News

At the close of Native American Heritage Month in November, Megan D. Robinson for Art & Object highlighted “10 Must-See Artworks by Indigenous American Artists at the Seattle Art Museum.” 

“Works by contemporary artists are displayed with older historic pieces, creating a visual dialogue that continues throughout the museum…This gives a sense of cultural continuity and showcases the vitality of Indigenous arts and crafts—the very real living tradition of artistic creation in the Native community—while placing it firmly within the greater realm of worldwide arts and culture movements.”

Hannah Mwangi visits Hokusai: Inspiration and Influence for Seattle University’s Spectator, speaking with fellow visitors about their impressions of the exhibition. And Seattle Met includes the exhibition on its list of Things to Do, calling out the free docent tours available every Saturday and Sunday through the run of the show, which closes after January 21.

And Smithsonian Magazine writes up the “expansive” Calder: In Motion, The Shirley Family Collection exhibition.

Local News

“ArtSEA: Seattle is brimming with holiday shows”: Crosscut’s Brangien Davis has you covered—in rhyme, no less!—with a poetic round-up of holiday happenings.

Here’s even more festive recommendations, including into the South End, from Jas Keimig of South Seattle Emerald.

Tat Bellamy-Walker of The Seattle Times on the two new Santa Clauses who will be at the Chinatown International District’s Wing Luke Museum for its annual CID Santa photo day.

‘We know that’s what creates goodness,’ [Wing Luke Executive Director Joël] Barraquiel Tan said. ‘We know that’s really what true public safety looks like — when we’re all here together on a regular basis. So, if an Asian American Santa is the clarion call for that, let it be that. We need joy at this time.’”

Inter/National News

Brian Boucher of Artnet brings you “12 Famous Artists Offer Life Advice.”

ArtReview is out with its annual Power 100 list. Catch up on what it means, how they decide, and who made the list.

Via Will Heinrich for The New York Times: The “Zen Mona Lisa” makes a “once-in-a-lifetime trip” to the Asian Art Museum of San Francisco for three weeks only.

“An irregular lineup of five orbs, with a sixth in front, absent any background or context and rendered only in tones of gray, the piece, approximately a foot square, exemplifies the kind of stark simplicity and attunement to nature that Americans found so bracing in Zen. It also illustrates just about any Buddhist concept you would care to name.”

And Finally

Via Seattle Met: “Christmas Lights Road Trips in Washington.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Chloe Collyer.

Professor Julie Nelson Davis on the Life and Career of Katsushika Ōi

Seattle Art Museum on Nov 29 2023

Professor Julie Nelson Davis on the Life and Career of Katsushika Ōi

SAM’s Gardner Center for Asian Art and Ideas presents the 2023–24 season of the Saturday University Lecture Series, exploring various topics loosely inspired by the exhibition Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston at the Seattle Art Museum. This month, Julie Nelson Davis, Professor of Art History and the Department Chair at the University of Pennsylvania, will offer a discussion on the style, career, and legacy of renowned artist Katsushika Ōi on Saturday, December 9. In advance of her talk, SAM spoke with Nelson Davis about Ōi’s relationship to her famous father and her contributions to his studio, her favorite artwork in SAM’s collection, and more.

SAM: What can the public expect to learn about in your upcoming Saturday University lecture? What initially drew you to this topic?

JULIE NELSON DAVIS: I’m looking forward to sharing my research on Katsushika Ōi, the daughter of the famous ukiyo-e master, Katsushika Hokusai. Some people may be familiar with the Japanese animation, Miss Hokusai, that tells a fictionalized version of her life. I’ll talk about Ōi’s life and work, as we can reconstruct if from period evidence, and investigate possible ways that her contributions to Hokusai’s studio might be further revealed. Much of my previous work has been about women in early modern Japan and about collaboration between artistic producers; I’ve been thinking about Ōi as part of this larger investigation.

SAM: Academic research often involves travel. Is there a travel experience related to your lecture experience that you could share with us?

JND: This research developed out of a project I was doing with the British Museum, and our group met a few times in Washington D.C., London, and Tokyo to discuss our work together, looking at paintings in storage, and viewing the British Museum exhibition on Hokusai in 2017. I also previously had the chance to travel with some colleagues to Obuse, a small town east of Nagano, to visit the Hokusai Museum and the Gansho-in Temple. Hokusai and Ōi traveled to Obuse in the 1840s on an invitation from an acquaintance, Takai Kozan. Kozan built a studio room for Hokusai and Ōi, and we were able to visit the house and see the studio. We also had the chance to look closely at a sketch in the museum’s collection that shows Hokusai’s plan for a painting he designed for Gansho-in, as well as to look at the two famous festival carts with paintings attributed to Hokusai. We then went to the temple to look at the ceiling painting of a magnificent phoenix. It was a beautiful, partly sunny, cold December day, and as we walked from the museum to the temple, we passed many traditional houses where people were drying bright orange persimmons; the rather monotone landscape and the coldness of the day helped me imagine what Hokusai and Ōi’s experience of working in Obuse might have been like. 

SAM: The Seattle Art Museum is home to nearly 25,000 works of art. What’s one artwork from the museum’s collection that resonates with you? Why?

JND: Who can choose just one thing! If I must, I’ll say the Poem Scroll with Deer by Tawaraya Sōtatsu and Hon’ami Kōetsu, the beauty and rhythm of the painting and calligraphy is stunning. I still remember seeing it in storage when I was a grad student, seeing it unroll and glisten under the light. It was gorgeous.

SAM: What is one fact or story related to your lecture topic that the public would be surprised to learn?

JND: Perhaps that it was rare for women to work as professional artists in early modern Japan. Ōi was one of the exceptional cases. Many women worked in the period, but most worked for their family businesses, in shops, or in other roles. Few women had the opportunity to pursue careers as painters, and those that did were typically able to do so only because their husbands or fathers were also painters. (This was also often the case for women in other parts of the world at the same time.) Ōi had the opportunity to learn to sketch and paint in her father’s studio when she was young, becoming quite proficient. She left Hokusai’s studio for a few years to marry another painter, but after their marriage ended, she returned to work alongside her father for the last twenty-two years of his life. 

SAM: What’s one book you’d recommend to those interested in learning more about your lecture topic?

JND: There isn’t one yet! But to learn more about Hokusai, I’d recommend reading Hokusai: Beyond the Great Wave (British Museum, 2017) or, of course, seeing the exhibition at the Bowers Museum through January 7, 2024! I wrote a small book as an introduction, Picturing the Floating World: Ukiyo-e in Context (University of Hawai’i Press, 2021) for people curious about the Japanese prints, paintings, and illustrated books in the ukiyo-e genre that might also be of interest.

SAM: Is there anything we didn’t ask that you want to share with the public in advance of your lecture?

JND: I hope that they have a wonderful experience seeing Hokusai: Inspiration and Influence at SAM.

– Simon Tran, SAM Manager of Public Engagement at the Seattle Asian Art Museum

Photos: Courtesy of Julie Nelson Davis. Night Scene in the Yoshiwara, 1850, Katsushika Ōi, ink and paper drawing, Ota Memorial Museum of Art in Tokyo. Poem Scroll with Deer, 1610, Tawaraya Sōtatsu and Hon’ami Kōetsu, ink, gold and silver on paper, 13 7/16 × 366 3/16 in. (34.1 × 930.1 cm) Overall: 13 1/2 x 410 3/16 in. (34.3 x 1041.9 cm), Gift of Mrs. Donald E. Frederick, 51.127, photo: Seiji Shirono, National Institute for Cultural Properties, Tokyo.

Muse/News: Interesting Pictures, Ritual Objects, and Girls in Windows

Rachel Eggers on Nov 27 2023

Muse/News: Interesting Pictures, Ritual Objects, and Girls in Windows

SAM News

Here’s Margo Vansynghel of the Seattle Times with arts recommendations for December, including Elizabeth Malaska: All Be Your Mirror. The solo show features tour-de-force paintings by the 2022 winner of SAM’s annual prize for Northwest artists, the Betty Bowen Award.

“Malaska’s brushwork is at once vigorous, detailed and patterned, then loose and almost abstract or even droopy and distorted. The result is beautiful, unsettling and varied — and paints a much more interesting picture.”

“A theatrical new Calder exhibition staged in Seattle”: Don’t miss Elena Goukassian’s take for The Art Newspaper on Calder: In Motion, The Shirley Family Collection. She highlights the thoughtful curatorial choice to “frame his works as a delightfully subtle kind of performance.” ) She also mentions the playlist drawn from Calder’s own record collection.)

“These are all displayed in a newly configured gallery that features individual “stages” for the larger works, vitrines for the smaller ones and “overlook” balcony views—all with an eye towards spotlighting their theatrical nature.”

For the subscriber-only Airmail, Osman Can Yerebakan interviews the Shirleys and relays the story of the first time they heard Dispersed Objects with Brass Gong make a sound. (Are you patient enough to wait to hear it in the galleries?)

ICYMI! “Legendary Children Brought the House Down”: Jas Keimig and Susan Fried capture the magic for South Seattle Emerald.

Local News

It’s dark. Seattle Met helps with “Where to See Holiday Lights in Seattle.”

For her weekly ArtSEA post, Crosscut Brangien Davis features “art, film, and food to honor Native American Heritage Month.”

“Chehalis artist explores cultural appropriation of Native regalia”: Gayle Clemans for The Seattle Times on Selena Kearney: object/ritual, now on view at Solas Gallery.

“After shifting to a more conceptual art practice, Kearney has thought carefully about how much information to reveal in an image and how much to conceal. In this series, all of the photographs are taken in crisp detail with vivid color, as if they are beautiful documents of cheap, often offensive cultural relics.”

Inter/National News

Via Artnet: “5 Massive Pop Culture Moments From 2023 That Remind Us of Renaissance Paintings.”

Via Artdaily: The first New York solo exhibition for Natalie Ball—featuring never-before-seen works—just opened at the Whitney Museum of American Art. Ball was the winner of SAM’s 2018 Betty Bowen Award and her work is now on view at SAM. 

David Segal for The New York Times on Girls in the Windows (1960) by Ormond Gigli, a photograph that people keep buying and buying.

“He’s working without an assignment because he wants to memorialize those buildings, which stand directly across the street from his home studio. What he doesn’t know is that the image will become one of the most collected photographs in the history of the medium.”

And Finally

Another video from the Calder Foundation archives: The first performance of Work in Progress at Teatro dell’Opera, 1967–68.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.

Hokusai Smartphone Tour: Album of Miscellaneous Sketches Including Designs for Artisans

Lily Hansen on Nov 21 2023

Hokusai Smartphone Tour: Album of Miscellaneous Sketches Including Designs for Artisans

On the third stop on the free smartphone tour of Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston, exhibition curator and Curator of Japanese Art at the Museum of Fine Arts, Boston, Dr. Sarah Thompson is joined by Michiko Adachi, Bettina Burr Associate Conservator at the Museum of Fine Arts, Boston, for a conversation on Katsushika Hokusai’s unintentionally collaborative Album of Miscellaneous Sketches Including Designs for Artisans.

This collection of sketches, although believed to be mostly drawn by Hokusai, was passed between many of the artist’s students and peers, with each contributing new drawings. Learn more about this album and its contents by tuning in to the audio recording above. Then, explore all seven stops on the exhibition’s free smartphone tour on our SoundCloud or by visiting the exhibition in-person at the Seattle Art Museum. Hokusai: Inspiration and Influence closes Sunday, January 21, 2024. Reserve your tickets to see it now in the heart of downtown Seattle!

Album of Miscellaneous Sketches Including Designs for Artisans, about 1830s–40s

DR. SARAH THOMPSON: The Asian Conservation Studio at the MFA are the people who clean and repair the art objects so that they appear at their very best in exhibitions, and who make sure that they are always stored and exhibited in the safest possible conditions. Michiko Adachi, who handles works on paper, will tell you more about an especially interesting object that she has treated.

MICHIKO ADACHI: This book with sketches and preparatory drawings is part of the Hokusai school drawing collection. The collection was believed to have been purchased by William S. Bigelow when he was living in Japan in the 1880s, from Hokusen, who had been a pupil of Hokusai.

These books are immensely fun to look through as each page holds something entirely different, from a more finished drawing, to design work, to even just a small sketch of a mouse. They were probably drawn or added throughout the years by multiple students and artists as drawings were often passed along. For this book, it is thought that a large percentage of the drawings were drawn by Hokusai himself.

These drawings are usually drawn on a thin, translucent paper in black ink, cut and pasted onto a thicker paper bound in a book format. Often you can see the artist making an outline in lighter gray ink before the final sketch, or red ink to place a grid or to make corrections. Artists also made corrections in their drawings by pasting another sheet of paper onto the desired area. The original drawing is usually still visible because the paper is translucent and often not completely pasted down, giving you a glimpse into the artistic process. You can see one of these corrections in the rectangular design work in the bottom right of this book. On the right-hand side, there are three animals surrounding two figures. The artist had initially drawn a circular pattern on the body of the animals, but later decided to change this by pasting a piece of paper on top and then drawing the animals again without the pattern on its body. If you look closely the circular pattern is still visible through the pasted paper.

A grant from the Toshiba International Foundation allowed for the conservation and imaging of a select group of Hokusai school drawings, such as this book, enabling us to share this small but special collection. You can flip through this book on the screen located next to the book.

– Lily Hansen, SAM Marketing Content Creator

Image: Album of Miscellaneous Sketches Including Designs for Artisans, about 1830s–40s, Artist unknown, Japanese, ink on paper, mounted in paperbound album, William Sturgis Bigelow Collection, Photograph © Museum of Fine Arts, Boston.

The Multitudes of Museum Work: Emerging Arts Leader Aranya Kitnikone Reflects

Seattle Art Museum on Nov 20 2023

The Multitudes of Museum Work: Emerging Arts Leader Aranya Kitnikone Reflects

“What do you want to be when you’re older?” Time and time again, I’ve asked myself this question.

From a young age, I developed an affinity towards the arts from my older sister, who was an artist. As my role model, they influenced my passion and professional interest for the arts. However, as a first-generation Asian American, I’ve often had to confront the stigma that comes with pursuing a career in the arts and humanities over a more ‘lucrative’ or stable field like medicine or business. In my own family, this sentiment proved especially true; it was considered a waste of time to study the arts. This mindset naturally impacted the decisions I made regarding my own future.

While I love making art and consider myself a passionate and creative person, the negative opinion of my family and colleagues pushed me away from pursuing a career arts. In entering college, I decided to pursue Human Resources and Education (the idea of working adjacent to art had never really crossed my mind). It was only when I discovered an internship in the Seattle Art Museum’s Human Resources department that my passion for creative work was reignited. It served as an opportunity to combine my desire to work in the arts with my desire to pursue a broader career that might be seen as more ‘stable’ to my family (and admittedly, myself).

At SAM, I was encouraged to connect with other creatives to find out what goes on behind the scenes at an arts institution. I was able to schedule one-on-one meetings with staff across different departments of the museum, connect with other interns, and learn more about what museum work really is. I was most excited to meet the people behind the execution of the galleries and to see exhibitions go from the planning stage to the presentation stage. I especially want to highlight my meeting with Jenni Beetem, a fellow Emerging Arts Leaders in conservation, in which I learned about the preservation of yak milk from the Mongol Empire and the fundamentals of art conservation.

Working alongside the Human Resources team was also an invaluable experience. Ellie Vazquez, SAM Human Resources Specialist and my program supervisor, helped me to better understand what equity looks like in a museum setting and how it is practiced throughout recruitment and hiring processes. Throughout my project work, I was able to observe the diversity, equity, and inclusion (DEI) practices currently in place at SAM, and was tasked with co-editing our Equitable Hiring Guide and hosting a gallery tour of American Art: The Stories We Carry that highlighted the topics of HR and DEI. In that tour, I spoke of how DEI and collaboration have shaped gallery spaces at SAM and beyond, as well as the importance of reflecting the diversity of local communities within museum staff and projects.

In my role as an Emerging Arts Leader Intern in Human Resources, I created training videos and resources for SAM’s internal staff. Sitting in on staff meetings and having one-on-ones with my supervisor helped me gain a greater understanding of what I wanted my role in (or out of) HR to be. As I performed research on staff benefits—which, admittedly, wasn’t the most exciting aspect of my role—I enjoyed knowing that I could assist someone to understand their workplace better. So, while Human Resources did not start off as a passion, I did find joy in the principles, the learning opportunities, and especially the collaboration and connection fostered in this space. While my work may not have been directly involved in the operations of the public-facing museum space, the opportunity to connect with others behind the scenes will always be a highlight for me.

My time at SAM has been a transformative experience. I have met people from all different walks of life and have been fortunate enough to see the passion that goes into running this museum firsthand. When I first came to SAM, I held all sorts of preconceived notions on what it would be like to work in a museum. In my mind, a degree of privilege and higher education was needed to work in an institution such as this and I thought myself to be a terribly under qualified outsider. The Emerging Arts Leader program does an amazing job of combating these notions, allowing those from different walks of life to participate in, and contribute to, museum spaces. It has given me a greater understanding and respect for these institutions especially as SAM continues to grow and reflect the values of Seattle’s ever-evolving community. In leaving SAM, it’s clear that this institution is the product of a community-wide effort from the visitors, the volunteers, and the staff. Being here has allowed me to shift my idea of museums from being an institution of privilege to a space made for communities.

Finally, I would like to thank the specific individuals who helped me during my time here. I would like to thank my supervisor, Ellie, for all her support and guidance. I would like to thank the rest of our Human Resources team, Kathleen Maki and Andrew Young, and especially our internship coordinator, Sam Howes, for facilitating the internship process and creating a support system for us. I would also like to thank my fellow interns Elizabeth Xiong, Teagan Nathe, Jenni Beetem, Zak Sadak, Rebecca Wong, and Jo Cosme—this experience has been an unforgettable one especially because of the other amazing interns I have met during my time here. While I am now at the end of my time here as an intern, it in no way means the end of my relationship with SAM and its community.

– Aranya Kitnikone, SAM Emerging Arts Leader in Human Resources

Photos: Alborz Kamalizad & Sam Howes.

Muse/News: Spotting Calder, The Other Curtis, and Smith’s Curation

Rachel Eggers on Nov 20 2023

Muse/News: Spotting Calder, The Other Curtis, and Smith’s Curation

SAM News

“Seattle Art Museum Becomes the Alexander Calder Destination with Shirley Family Collection”: Chadd Scott of Forbes tells you everything you need to know about Calder: In Motion, The Shirley Family Collection and the future of Calder exploration at SAM.

“By any standard, Calder is an essential. He’s one of the few artists who most people have seen, even if they don’t know it, or his name. They’ve seen his work on the street or in a museum or in a book or on TV. And once introduced, they’ll never forget it–‘oh, that’s a Calder!’”

Ann Binlot of Galerie highlighted the journey of Jon Shirley’s collecting of Calders.

“‘He created a whole new art form,’ said the collector. ‘He created sculpture that’s open to hang in space and incidentally move. There’s just something about how my brain works that I really enjoyed being with the works.’”

José Carlos Diaz, exhibition curator and Susan Brotman Deputy Director for Art, appeared on New Day NW to fill host Amity Addrisi in on this exciting moment at SAM when you can see both Hokusai: Inspiration and Influence and Calder: In Motion.

And at the Seattle Asian Art Museum, you’ve got just two weeks left to see Renegade Edo and Paris! Here’s Bob Knetzger for Boing Boing’s take on the prints exhibition.

“It’s a real treat to get to see up close the amazingly precise and exquisitely small Japanese woodcuts—and have them right next to the GIANT lithographed posters advertising Parisian shows and entertainers.”

Local News

The Seattle Times’ Tat Bellamy-Walker—along with videographers Kevin Clark & Lauren Frohne—sits in on a rehearsal of the Jafra Dabke Team, a Seattle-based Palestinian dance group, who performed at LANGSTON this weekend as part of a cultural education and community event. 

“Ties that bind”: Shannon M. Lieberman for Oregon ArtsWatch on a new gallery show of works by Omak, Washington-based Joe Feddersen.

Knute Berger and Stephen Hegg revisit an earlier Mossback Northwest episode, “The Other Curtis Brother,” examining the regional photographer Asahel Curtis. It turns out that the episode generated many new Curtis finds from the public, which the Washington State Historical Society is working to digitize. 

“The digitization is going well but slowly, Berger reports: ‘They can do about a hundred images a day.’ But amazing discoveries are being made already: ‘They’re finding everything from news photos [to] promotional photos of landscapes, pictures of all kinds of people in all walks of life.’”

Inter/National News

Via Brian Boucher of Artnet: “Help! 7 Times People Got Trapped Inside Artworks—Whether by Choice or by Accident.”

“Meet the African Artists Driving a Cultural Renaissance”: Dive into this New York Times multimedia project by Abdi Latif Dahir and Veronica Chambers, part of a larger series on “how Africa’s youth boom is changing the continent, and beyond.”

ARTnews’ Alex Greenberger on the National Gallery of Art’s exhibition of contemporary Native art, “organized with grace” by the artist Jaune Quick-to-See Smith. (Hot tip: you can see Smith’s dazzling retrospective at SAM next spring!)

“[The exhibition] proves that Native American artists cannot be pigeonholed into one aesthetic—or even one medium—and that their output has taken up the painful remnants of colonialism via a range of subjects. Smith’s exhibition also demonstrates that the struggle for land rights continues to impact not just the objects these artists make, but their outlook on the world as well.”

And Finally

Still digging in the archives thanks to the Calder Foundation: “Sculpture and Constructions, 1944 by Herbert Matter.”

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Alborz Kamalizad.

A Monumental Gift Goes On View: Inside Calder: In Motion at SAM

Rachel Eggers on Nov 15 2023

A Monumental Gift Goes On View: Inside Calder: In Motion at SAM

“How can art be realized? Out of volumes, motion, spaces bounded by the great space, the universe.”

– Alexander Calder

This November, SAM begins a long-term commitment to Alexander Calder, the American artist celebrated for revolutionizing sculpture with his renowned mobiles and stabiles. Earlier this year, SAM announced the incredible gift of more than 45 seminal Calder artworks by longtime supporters Jon and Kim Shirley. Their magnificent collection—one of the most important private holdings of Calder’s art—is the result of 35 years of thoughtful collecting. 

Now on view at SAM, Calder: In Motion, The Shirley Family Collection thematically highlights pieces from every decade of Calder’s career, dating from the 1920s to the 1970s. The exhibition also includes examples of Calder’s works on paper and an oil painting, among other media, representing the expansiveness of his oeuvre. Sections devoted to his artistic experimentation, natural forces and dynamics, and the artist’s lasting contribution to modern art are also featured.

“As truly serious art must follow the greater laws, and not only appearances, I try to put all the elements in motion in my mobile sculptures. It is a matter of harmonizing these movements, thus arriving at a new possibility of beauty.”

– Alexander Calder

To accentuate the artist’s exploration of height, scale, and movement, the exhibition is installed in the museum’s double-height galleries—a unique space for large-scale works with several overlooks from the floor above. The exhibition design captures a sense of movement, with an S-shaped, curved wall that wraps around the iconic 22-foot-tall sculpture Red Curly Tail (1970) and divides the galleries into a series of vignettes illuminating the exhibition’s themes and highlighting the lyricism of Calder’s creations.

Elsewhere on view are the oil painting The Yellow Disc (1958), a medium that Calder engaged with throughout his career but is not nearly as well known as his sculpture; Untitled (Métaboles) (1969), a mobile the artist created as part of a stage set for a ballet; and Fish (1942). The latter, a significant work from a rare series of mobiles created during and after World War II when metal was scarce, is made of wire framing and found materials.

The central gallery traces Calder’s career, highlighting his achievements across the miniature and the monumental. The expansive Toile d’araignée (1965), an airy, monochromatic mobile hovers over several artworks, including the masterful standing mobile Bougainvillier (1947).

“That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”

– Alexander Calder

The final gallery considers the artist’s legacy, with works that demonstrate Calder’s accomplishments throughout his most productive decades and his impact on the evolution of modern art. It includes Untitled (1936), Little Yellow Panel (ca. 1936), Jonah and the Whale (ca. 1940), Untitled (ca. 1942), Constellation with Red Knife (1943), Yellow Stalk with Stone (1953), and Squarish (1970). This gallery also serves as a bridge into the museum’s modern and contemporary galleries.

The Shirley family’s generous gift will also inspire public programs exploring Calder’s artistic practice. Events are planned for both the Seattle Art Museum and the Olympic Sculpture Park and will include talks, tours, performances, art-making workshops, and a family-friendly festival—stay tuned for more details!

– Rachel Eggers, SAM Associate Director of Public Relations

This article first appeared in the October 2023 through January 2024 edition of SAM Magazine and has been edited for our online readers. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks!

Image: Bougainvillier, 1947, Alexander Calder, 1898-1976, sheet metal, rod, wire, lead, and paint, 78 x 82 x 54 in., Promised gift of Jon and Mary Shirley, © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Nicholas Shirley.

Muse/News: Calder Surprises, Cultural Space, and Native Knowledge

Rachel Eggers on Nov 13 2023

Muse/News: Calder Surprises, Cultural Space, and Native Knowledge

SAM News

“A tender new show at the Seattle Art Museum will delight and surprise Calder newbies and connoisseurs alike.” Margo Vansynghel of The Seattle Times reviews Calder: In Motion, The Shirley Family Collection, which is curated by José Carlos Diaz, SAM’s Susan Brotman Deputy Director of Art. The review appeared in print in the Sunday edition.

“These days, so many institutions find themselves competing with the tumult on our screens or with immersive “museums” where visitors take selfies in front of LED walls. Here, nothing shouts. You can take these sculptures in all at once, but consider taking your time to follow the minuscule movement of a small perforated disc or a wispy metal petal as they react to the movements of our bodies in space. Your patience will be rewarded.”

Crosscut’s Brangien Davis featured the Calder exhibition in her ArtSEA post, sharing details about Calder’s Seattle connections and collector Jon Shirley’s assertion that “everything looks better here than in our house.” 

“Calder wasn’t a fan of imposing “meaning” on his works, preferring instead that they be experienced in the moment—enjoyed for their… physicality and wonder. You’ll have plenty of chances to do so, as this show is the first in a Shirley-funded plan for annual exhibits, programming, and collaborations, including with artists influenced by Calder.”

And Kurt Schlosser of Geekwire spoke with collector Jon Shirley about the former Microsoft executive’s love of in-person art. 

“Shirley said Calder’s hands-on creation of art always appealed to him, and while artificial intelligence is a big deal at Shirley’s former company and across the tech and cultural landscape, art remains a physical creation in his view.”

Local News

Grace Madigan of KNKX reports that ArtsWA has approved grants for 17 arts programs serving military communities and veterans.

Seattle Met names The Boat its “Restaurant of the Year” for how sisters Quynh and Yenvy Pham brilliantly renewed their family’s restaurant’s history as Seattle’s first pho shop.

Dominic Gates of The Seattle Times shares news of another exciting opening event: a new cultural hub for five youth-focused community organizations in the historic King Street train station.

“Olisa Enrico, executive director of the Cultural Space Agency that developed the project, called it ‘a new home here for young artists to thrive, a safe haven for artistic expression.’ It will feed the ‘dreams of young minds, who will find inspiration and a sense of belonging here,’ she told the diverse audience. ‘You belong here.’”

Inter/National News

Via Andy Battaglia of Art in America: “Nicholas Galanin’s Pointed Public Sculpture Inspires Glorious Noise in New York.”

“In quiet yet scrupulous detail, the exhibition asks how the US National Park Service (NPS) shapes the narratives it tells about this country and the lands it claims”: Alexis Clements for Hyperallergic on a new show at LA’s Center for Land Use Interpretation (CLUI).

Taylor Defoe invites Jaida Grey Eagle to highlight four key works now on view in an exhibition she guest-organized: In Our Hands: Native Photography, 1890 to Now at the Minneapolis Institute of Art. 

“‘I don’t look at this as a beginning,’ Grey Eagle said, alluding to the colonialist logic of racing to be the first to put a name on something. ‘I look at it as an acknowledgment. There have been many people who have dedicated their lives to this medium and I don’t ever want to erase their work.’ The show, she went on, is about ‘honoring the knowledge that has been there and that museums have failed to support.’”

And Finally

Another gem from the Calder Foundation archives: “From the Circus to the Moon” (1963) by Hans Richter.

– Rachel Eggers, SAM Associate Director of Public Relations

Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Alborz Kamalizad.

In the Studio with SAM Gallery Artist Joe Max Emminger

Seattle Art Museum on Nov 13 2023

In the Studio with SAM Gallery Artist Joe Max Emminger

In the Studio highlights the private workspaces of local artists represented by SAM Gallery. For fifty years, SAM Gallery has supported artists from across the Pacific Northwest and provided private and corporate clients with a wide range of services, from purchasing their first work of art to building extensive collections. To browse a featured artist’s entire catalogue of artwork available for rent or purchase, visit SAM Gallery on the lower level of the Seattle Art Museum.

You can find artist Joe Max Emminger painting in his studio in Magnuson Park every day. His studio is located in Building 30 in the park’s campus. This building lives a new life as SPACE (Sand Point Arts and Cultural Exchange), after its construction in the 1930s for the Navy administration. The commander of the base once visited Emminger, who now paints in his previous office.  

Sunlight enters the studio through large windows, shining onto Emminger’s wall where he has mixed, tested, and blended paint for the last seven to eight years. He considers the wall a big palette, where he can mix paint while he’s working on paintings that are attached to the wall. He works close to the paintings, believing that “creating things is a messy business, it leaves the debris of creation behind.” The large painted wall contains hundreds of patches of bright colors in splotches, circles, shapes, and drips. It serves as a beautiful archive of Emminger’s artworks and process. 

Emminger’s artworks are based on things he sees, things he cares about, and stories in his head. Each painting has a story with characters that show up. He puts the characters into paintings, then creates new characters to add in and expand the story he wants to tell. He “starts throwing some color at the work, adds it, and adds more until it makes some sense.” He says his process is like moving furniture, a continuous cycle of balancing colors to bring something new to life. Many of his artworks include recurring characters, cats, birds, butterflies, and familiar sites from around Seattle such as Pike Place Market or Gasworks Park.

View Joe Max Emminger’s available artworks at SAM Gallery on the featured sliding wall, in the 50th Anniversary Show at SAM Gallery this November, or online. Stay updated on all that’s happening at SAM Gallery by following us Instagram at @SAMGallery.

– Pamela Jaynes, SAM Gallery Specialist

Photos: Chloe Collyer.

Dr. Saloni Mathur on the Life and Legacy of Amrita Sher-Gil

Seattle Art Museum on Nov 7 2023

Dr. Saloni Mathur on the Life and Legacy of Amrita Sher-Gil

SAM’s Gardner Center for Asian Art and Ideas presents the 2023–24 season of the Saturday University Lecture Series, exploring various topics loosely inspired by the exhibition Renegade Edo and Paris: Japanese Prints and Toulouse-Lautrec at the Seattle Asian Art Museum. This month, Dr. Saloni Mathur, Professor and Chair of the Department of Art History at the University of California, Los Angeles, will offer a discussion on the paintings of revolutionary 20th-century South Asian artist Amrita Sher-Gil on Saturday, November 11. In advance of her talk, SAM spoke with Mathur about her reaction to seeing Amrita Sher-Gil’s Self-Portrait as Tahitian for the first time, its similarities with Native contemporary artist Wendy Red Star’s Four Seasons series, and more.

SAM: What can the public expect to learn about in your upcoming Saturday University lecture? What initially drew you to this topic?

SALONI MATHUR: I will be speaking about Amrita Sher-Gil (1913–1941), the part-Indian, part-Hungarian painter who stands at the cosmopolitan helm of modern Indian art. She was the first Indian to receive artistic training in Paris, attending the École des Beaux-Arts from 1929 to 1932. The biracial, bicultural, and bisexual artist was described recently by Time Magazine as “shockingly modern.” My talk will focus on her extraordinary painting, Self-Portrait as Tahitian (1934), in which she was supposedly responding to Gauguin’s stylization of the female nude.

I remember experiencing a sense of vertigo after first encountering this painting in response to the dizzying set of questions it raised. What were the conditions that made possible such an account of Gauguin by a non-western woman in 1934? What precisely was meant by Sher-Gil’s self-conscious placement into the body of a Tahitian nude? And how could art history have missed this painting, so deliberately a citation of art historical precedent? 

SAM: Academic research often involves travel. Is there a travel experience related to your lecture experience that you could share with us?

SM: Self-Portrait as Tahitian was housed with her descendants in a private collection for a long time. I traveled to Europe to study the painting on two occasions when it was displayed as part of larger exhibitions. The first time was for the exhibition Companionable Silences curated by Shanay Jhaveri in Paris, France in 2013, and the second was for Documenta 14 in Kassel, Germany in 2017.

SAM: The Seattle Art Museum is home to nearly 25,000 works of art. What’s one artwork from the museum’s collection that resonates with you? Why?

SM: I’ve always been a fan of contemporary Native American artist Wendy Red Star’s Four Seasons (2006) print series in SAM’s collection. Here, Red Star parodies and undercuts exotic stereotypes of the Indigenous woman by repeatedly stepping into the photographic frame herself. The way she challenges the conventions of looking with her own physical presence resonates a great deal with Amrita Sher-Gil’s own gesture of subversion in Self-Portrait as Tahitian, painted some ninety years ago. In both cases, the young non-white, female artist rejects the terms of her own objectification, and steps into the canvas or photographic frame to assume a new command of their situation.

SAM: Is there anything we didn’t ask that you want to share with the public in advance of your lecture?

SM: The Delhi-based contemporary artist, Vivan Sundaram (1943–2023), a major figure in Indian art who sadly passed away earlier this year, was also the nephew of Amrita Sher-Gil. A significant corpus of his work dealt with the legacy of his famous aunt. His Re-take of Amrita series of black and white digital photomontages based on archival photographs from the family archive are especially powerful. Using digital technologies, Sundaram reconfigures these photographs in highly creative ways, and recasts the family in new roles, retelling his family history.

SAM: What’s one book you’d recommend to those interested in learning more about your lecture topic?

SM: Amrita Sher-Gil: An Indian Artist Family of the Twentieth Century. Schirmer/Mosel, 2007. This catalogue—created as part of an exhibition previously held at the Tate Modern in London—includes many of Sher-Gil’s paintings alongside Sundaram’s Re-takes series.

– Simon Tran, SAM Manager of Public Engagement

Photos: Courtesy of Saloni Mathur. Self-Portrait as Tahitian, 1934, Amrita Sher-Gil. Oil on canvas. Four Seasons series: Indian Summer, 2006, printed 2016, Wendy Red Star, Archival pigment print on Sunset Fiber rag, Sheet: 23 × 26 in. (58.4 × 66 cm), Image: 21 x 24 in., Gift of Loren G. Lipson, M.D., 2016.13.4. Bourgeois Family: Mirror Frieze, Vivan Sundaram, digital photomontage of archival print, from the Re-take of Amrita series, 2001–02.

Hokusai Smartphone Tour: The Story of Minamoto no Yoshitsune and Jōruri-hime

Lily Hansen on Nov 7 2023

Hokusai Smartphone Tour: The Story of Minamoto no Yoshitsune and Jōruri-hime

In The Story of Minamoto no Yoshitsune and Jōruri-hime, Katsushika Hokusai depicts a famous scene from classical Japanese literature with a modern twist. While the narrative of the 12th-century story remains the same—the young samurai Minamoto no Yoshitsune hears Princess Jōruri-hime playing the koto and duets with her on his flute, jumpstarting a passionate love affair—the costumes worn by some of the characters reflect the fashion and style of the 18th century.

While under the tutelage of Kasukawa Shunshō in the 1780s, Hokusai designed many of these works, known as perspective prints, which incorporate exaggerated versions of the Western-style vanishing point perspective within elegant settings. In the second stop on the free smartphone tour of Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston, exhibition curator Dr. Sarah Thompson discusses where Hokusai likely learned this artistic technique and points out how he achieved this perspective in this work. 

Tune in to this audio recording now on our SoundCloud to learn more about The Story of Minamoto no Yoshitsune and Jōruri-hime or by scanning the QR code accompanying the artwork in the exhibition’s galleries. Hokusai: Inspiration and Influence is now on view through Sunday, January 21, 2024 at the Seattle Art Museum—get your tickets now!

The Story of Minamoto no Yoshitsune and Jōruri-hime, late 1780s

DR. SARAH THOMPSON: Let’s take a close look at an early work by Hokusai, a color print with the signature “Shunro” that he used in the 1780s when he was a student of Katsukawa Shunshō.

The scene is a modernized parody version of a famous story from classical Japanese literature, in which a young samurai, Minamoto no Yoshitsune, hears the sound of a lady named Jōruri-hime playing the koto at night. He stands at her garden gate and plays a duet with her on his flute, and this is the beginning of a passionate love affair. In the print, the flute player wears the costume of the 12th century when the story is set, but the lady and her attendants wear modern 18th-century clothes. When Hokusai was in his twenties he designed many works of this type, called perspective prints because they use an exaggerated version of Western-style vanishing point perspective. He probably learned this technique by looking at artists such as Utagawa Toyoharu and Shiba Kōkan, whose work you can see hanging nearby; and he combined it with the things that he had learned from his own teacher, Shunshō: drawing elegant figures in various poses and arranging them in an attractive setting.

In this picture, Hokusai uses two different systems of perspective to give the effect he wants. The building in the left half of the picture is drawn with converging lines that recede toward a distant vanishing point to give the impression of a very large, spacious interior. But in the garden scene to the right, Hokusai uses a traditional Asian perspective, with a high horizon line and distant objects placed higher in the picture, as you can see in, for example, the large painted screens by Shunshō also in this exhibition. For Japanese artists in the late 18th and early 19th centuries, Western perspective was an attractive and effective drawing technique, but was not necessarily the only option. In the famous landscape prints that Hokusai designed almost 50 years later, in the 1830s, he uses Western perspective most of the time but still feels free to alter it occasionally for a special effect.

– Lily Hansen, SAM Marketing Content Creator

Image: The Story of Minamoto no Yoshitsune and Jо̄ruri-hime (Genji jū̄nidan no zu), from the series Perspective Pictures (Uki e), 1780s (Tenmei era), Katsushika Hokusai, Japanese, 1760–1849, woodblock print (nishiki-e); ink and color on paper, William Sturgis Bigelow Collection, Photograph © Museum of Fine Arts, Boston.

Muse/News: Hokusai’s Fame, Culture Streetcars, and Caravaggio’s Cardsharps

Rachel Eggers on Nov 6 2023

Muse/News: Hokusai’s Fame, Culture Streetcars, and Caravaggio’s Cardsharps

SAM News

José Carlos Diaz, SAM Susan Brotman Deputy Director for Art, was interviewed for KING5’s Evening Magazine about Hokusai: Inspiration and Influence, from the Collection of the Museum of Fine Arts, Boston, which is now on view at SAM.

“Hokusai’s probably an artist you’ve always known. You know him for the Great Wave, but he’s also one of the most famous artists of all time.This exhibition has almost 300 works that represent the artists Katsushika Hokusai, but also his peers, his pupils, his rivals, and also the influence he had on Europe as well as contemporary culture today.”

On Saturday, the Seattle Asian Art Museum hosted the Diwali Family Festival. KING5 News’ Angeli Kakade previewed the event on Friday’s broadcast, and Nicole Henao, SAM Manager of Teen & Family Programs, appeared on the Saturday morning news to share all the details (did you catch it?). 

Jas Keimig for South Seattle Emerald with recommendations for arts events in November, including Legendary Children on November 17 at the Olympic Sculpture Park. This celebration of queer and trans BIPOC communities is produced with many partners.

Local News

“At this Green Lake dive bar, karaoke is a cathartic, unifying experience”: Nathalie Graham for the Seattle Times with a moving read. 

Crosscut’s Brangien Davis gets you ready for the Big Dark in her latest ArtSEA post, including an update on the just-christened SIFF Cinema Downtown’s opening date. 

Joshua McNichols and Mike Davis on the proposal for a streetcar line through downtown Seattle that would connect cultural institutions. 

“Putting the streetcar line at the center of this arts renaissance is not just a gimmick. It turns out there’s a strong correlation between the presence of the arts downtown and transportation, whether it’s streetcars or single occupancy vehicles.”

Inter/National News

Claire Selvin for ARTnews on the Whitney Museum of American Art’s new show on Ruth Asawa that focuses on her works on paper. 

“Collectors Marilyn and Larry Fields make ‘landmark gift’ of 79 works to MCA Chicago”: Ruth Loepz for The Art Newspaper reports on a gift of art “predominantly by woman-identifying and BIPOC artists.”

“There’s Much More to Caravaggio’s ‘The Cardsharps’ Than Vice”: Katie White of Artnet takes another look at the masterpiece, now on view in Chicago.

“The painting is mischievous, the older conman’s face comical in expression, and we feel ourselves rooting, with a bit of a smile, for the bad guys.”

And Finally

Let’s dive into the Calder Foundation archives: “Works of Calder, 1950 by Herbert Matter.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.

Five Decades of Supporting Local Artists: SAM Gallery Celebrates 50 Years

Seattle Art Museum on Nov 2 2023

Five Decades of Supporting Local Artists: SAM Gallery Celebrates 50 Years

This November, SAM Gallery is celebrating 50 years of supporting local artists and building relationships with local collectors. When the program began in 1973, SAM Gallery was managed by former volunteer Jackie Macrae and a team of 25 dedicated SAM docents. Through a great deal of research, many volunteer hours, and a $1,000 loan from the Macrae family, the gallery officially opened its doors to the public. Five decades later, SAM Gallery is staffed by a full-time manager devoted to art sales and rentals and several part-time employees, with additional support from the museum’s Associate Director for Retail Operations and SAM Shop team members.

Visitors browse available artworks at SAM Gallery Rentaloft in 1976, photo: Paul Marshall Macapia.

At its founding, SAM Gallery was known as the Seattle Art Museum Rentaloft and was located in the Modern Art Pavilion at the Seattle Center. In 2004, it was renamed SAM Gallery and moved to 1220 Third Avenue, a block east of the Seattle Art Museum. When the expanded Seattle Art Museum opened in the heart of Seattle in 2007, SAM Gallery moved to its current location on the lower level of the museum, within the SAM Shop space on First Avenue.

In 1973, SAM Gallery supported 86 artists and carried paintings, sculptures, constructions, photography, and conceptual art. Today, SAM Gallery supports over 50 artists from across the Pacific Northwest. The gallery carries paintings, sculptures, prints, photographs, drawings, and mixed-media works, all of which are available for rental or purchase.

Ceramic artist and former SAM Gallery Director Barbara Shaiman poses with artist Gene McMahon at SAM Gallery’s former location on Third Avenue, photo: Hernan Celis Prada.
Former SAM Gallery Associate Director Jody Bento with artist Linda Davidson, photo: Lindsey Dabek.

Many things have changed in the five decades since SAM Gallery was founded, but its mission has remained the same: to support local artists by increasing their exposure and finding audiences for their work. SAM Gallery continues to work with corporate and private clients to help them connect with local artists and build their private art collections. SAM members are able to rent any artwork before making a purchase that directly supports the local artists who live and work in our community. Join us in celebrating SAM Gallery’s 50th anniversary at our Anniversary Party this Saturday, November 4 and Artist Reception on Saturday, November 18. We hope to see you there!

– Pamela Jaynes, SAM Gallery Specialist

Photo: Courtesy © Seattle Art Museum, photo: Paul Marshall Macapia, 1976, archive image.

Artist Fulgencio Lazo’s Tapete Commemorates Migrant Children

Seattle Art Museum on Nov 1 2023

Artist Fulgencio Lazo’s Tapete Commemorates Migrant Children

Every year, artist Fulgencio Lazo designs a tapete for SAM in celebration of El Día de los Muertos (the Day of the Dead). José Carlos Diaz, SAM Susan Brotman Deputy Director for Art, explores the theme of this year’s tapete and finds connections to an artwork on view in American Art: The Stories We Carry. The tapete is on view in SAM’s Brotman Forum, free and open to the public, through Sunday, November 5.

For SAM’s 29th annual celebration of Día de los Muertos, Seattle-based Oaxacan artist Fulgencio Lazo returns to commemorate innocent youth displaced or lost through extreme circumstances and violence. Acclaimed for his works on paper and paintings, here Lazo expands his visual narratives, often representing fact with folklore, through a short-term sculptural installation and a traditional Oaxacan-style tapete, a colorful “rug” made with sand, pigments, and mixed media.

Lazo dedicates this year’s installation to “the growing number of migrant children who have died as they have embarked on dangerous journeys from their homelands.” He adds, “Thousands of young people have increasingly risked their lives fleeing violence, war, climate change, and extreme poverty.”

On the third floor, visitors can view Diego Rivera’s Sleep (1932), which depicts huddled individuals sleeping, their children, also fatigued, collapsed against them. In a collective moment of peaceful repose, they are temporarily free from the difficulties of daily survival for immigrants. Part of the museum’s founding collection, Rivera’s print thematically links across the decades to Lazo’s installation.

While Rivera depicts unharmed Latin American bodies, including children, Lazo conceptualizes their demise. He notes, “We will honor and remember these young lives, cut short in their quests for brighter futures.” The installation’s central sculpture depicts stylized skeletons, representing deceased children and reflecting the increasing global statistics of lives lost. These mourned figures are accompanied by elements traditionally associated with childhood: toys, bicycles, and sweets.

– José Carlos Diaz, SAM Susan Brotman Deputy Director for Art

Images: Photo by Chloe Collyer. Sleep, 1932, Diego Rivera, Mexican, 1886-1957, lithograph, matted: 20″ x 24″, Eugene Fuller Memorial Collection, 44.619. 

Muse/News: Spooky SAM, Haunted Seattle, and Macabre Prints

Rachel Eggers on Oct 30 2023

Muse/News: Spooky SAM, Haunted Seattle, and Macabre Prints

SAM News

“A ghosthunter’s guide to the Seattle Art Museum”: Just in time for Halloween, Crosscut’s Brangien Davis finds the scary scenes of the legendary Hokusai, now on view in Hokusai: Inspiration and Influence, from the Collection of the Museum of Fine Arts, Boston. 

SAM is the best! But don’t take our word for it: Seattle magazine’s readers said so in the just-announced annual spotlight on the best of the city.

Local News

Via Seattle Met’s Eric Nusbaum: “Nancy Pearl Shares Her Favorite Seattle Spots,” including a mention of the Seattle Asian Art Museum, SAM’s original home in Volunteer Park.

“Authentic, embodied, and fly as hell”: Jas Keimig for South Seattle Emerald on Shabazz Palaces’ new album. 

“5 allegedly haunted and spooky Seattle spots to visit”: Sarah-Mae McCullough of the Seattle Times goes ghosthunting. 

“Later in the night when I’m alone, I definitely don’t go downstairs to use the restroom,” [Merchant’s Cafe and Saloon staffer Naget] Atouani said. “I keep the lights on until the last minute.”

Inter/National News

Via Olivia McEwan for Hyperallergic: “Frans Hals, a Dutch Golden Age Rebel.”

Chen & Lampert present another “hard choices” quiz for Art in America: “Should You Become a Performance Artist?”

Artnet on a “macabre collection of spooky art heads” from the late print dealer Richard Harris heading to auction.

“Harris began assembling his trove around 2001, with an especial focus on symbolic representations of death. As he once put it: ‘I think that everyone ought—not to be obsessed by fact of death, but be aware of the fact that dying is a part of living.’”

And Finally

It’s Halloween; it’s KXVO Pumpkin Dance time.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Chloe Collyer.

Introducing TAG Talks: A Space for SAM Teens to Express Themselves and Their Love of Art

Seattle Art Museum on Oct 24 2023

Introducing TAG Talks: A Space for SAM Teens to Express Themselves and Their Love of Art

Teens always have a place at the Seattle Art Museum! Whether it’s enjoying the galleries over spring break, or offering their incredible talents through a variety of artistic programs, the voices of young people have helped to shape the museum in countless ways. SAM’s Teen Arts Group (TAG) is just one example of the critical role teens play at SAM.

TAG is an intensive internship program for high school-aged youth who are eager to learn about themselves and the world through art, and want to make SAM an engaging place for teens. This cohort of young minds meets weekly from October through May to plan teen-friendly museum events and programs, discuss professional development in the arts, and connect around their shared appreciation for SAM’s vast collection. Additionally, and perhaps most notably, TAG members plan every aspect of Teen Night Out, SAM’s annual celebration where teens take over the museum.

TAG offers an environment for current high school-aged youth to safely challenge themselves and others, try something new, and accept failure as an opportunity for growth. TAG Talks, the newest SAM Blog series, is a space for these leaders to reflect on their adventures in the year ahead, offering first-hand accounts of the ways they are stewarding SAM’s mission of connecting art to life. 

TAG leaders outline their community agreements at the second meeting of the 2023–2024 school year.

Among its many incredible objectives, one particularly exciting aspect of TAG is the cohort’s undertaking of a yearlong project that demonstrates the skills they’ve learned throughout their time at SAM. In 2023, members worked fiercely to complete two concurrent projects: an illustrated TAG zine highlighting Seattle’s sights and scenes that any teen can enjoy, and a multimedia exhibition, Home Is Where the Heart Is, featuring the artwork of teens from across the region. This year, TAG will be working hard to develop engaging content that SAM visitors will enjoy for years to come. This top secret project will make its public debut on Friday, May 3, 2024 at Teen Night Out, so stay tuned for this exciting reveal.

SAM Teen Programs Intern Mori Peña sits beside artist Dawoud Bey as he speaks with TAG leaders in November 2022.

As a former TAG member and current SAM Teen Programs Intern, Mori Peña is no stranger to the inner workings of the program. Mori is excited to be working alongside this year’s cohort and is especially looking forward to watching the group’s plotting and masterminding unfold. This year’s top secret yearlong project is one that SAM staff have been entertaining for the last few years and for Mori, it’s thrilling to see the pieces finally fall into place. Alongside eagerly returning members, the 2023–2024 cohort is filled with many new faces—we can’t wait to see what new ideas and perspectives they all bring to TAG! 

SAM Educator for Youth Programs Cristina Cano-Calhoun in conversation with TAG leaders at their second meeting of the 2023–2024 school year.

Over the 2023–2024 school year, we’ll be sharing original content created by TAG members here on SAM Blog under the series title TAG Talks. As a teaser for what’s to come, you can look forward to a behind-the-scenes look at the installation of an upcoming SAM exhibition, TAG members discussing objects on view in our permanent galleries, and reflections from a hands-on workshop with a teaching artist. As we kick off another session of TAG this month, you can also expect a more active and ever-expanding presence on our Instagram. So, follow us at @samteens and stay tuned for the next installment of TAG Talks!

– Cristina Cano-Calhoun, SAM Educator for Youth Programs & Mori Peña, SAM Teen Programs Intern

Photos: Chloe Collyer & Alborz Kamalizad.

Hokusai Smartphone Tour: Fine Wind, Clear Weather

Lily Hansen on Oct 24 2023

Hokusai Smartphone Tour: Fine Wind, Clear Weather

You may know Katsushika Hokusai for being the creator of the infamous woodblock print The Great Wave—officially titled The Great Wave off Kanagawa (about 1830–31)—but what other artworks of his do you know? In the introductory stop on the free smartphone tour of Hokusai: Inspiration and Influencefrom the Collection of the Museum of Fine Arts, Boston, exhibition curator Dr. Sarah Thompson offers insight on another of Hokusai’s most recognizable woodblock prints: Fine Wind, Clear Weather (1830).

The audio recording begins with a brief introduction from Dr. Thompson, Curator of Japanese Art at the Museum of Fine Arts, Boston, about the exhibition and the many artworks on view that derive inspiration directly from The Great Wave. Dr. Thompson then introduces Kendall DeBoer, Curatorial Assistant in the Department of Contemporary Art at the Museum of Fine Arts, Boston, who collaborated with Dr. Thompson in curating this exhibition and the contemporary artworks that are featured within it.

Dr. Thompson then turns her attention to Fine Wind, Clear Weather. More commonly referred to as Red Fuji, the print comes from the same series of prints as The Great Wave, called Thirty-six Views of Mount Fuji. As the title makes evident, Red Fuji depicts the sacred Mount Fuji, the tallest mountain in Japan admired for its beautiful symmetrical shape. Although not as universally recognized as The Great Wave, Red Fuji has served as inspiration for other artists looking to capture the mountain’s picturesque views. Among the artworks inspired by this print on view elsewhere in the galleries, points out Dr. Thompson, are Yoshitomo Nara’s 1999 parody print White Fujiyama Ski Gelände and Toyota Hokkei’s 19th-century print Mount Fuji. 

Hear more from Dr. Sarah Thompson, Kendall DeBoer, and other artists and scholars as part of the free smartphone tour of Hokusai: Inspiration and Influence now on our SoundCloud. Or, if you’re in SAM’s galleries, scan the QR code accompanying select artworks to be routed directly to each stop on the audio tour. The exhibition is on view at SAM’s downtown location through Sunday, January 21, 2024—reserve your tickets now to see Red Fuji and so much more!

Fine Wind, Clear Weather, 1830

DR. SARAH THOMPSON: Hello, and welcome to the exhibition “Hokusai: Inspiration and Influence.” I’m Sarah Thompson, the curator in charge of Japanese prints at the Museum of Fine Arts, Boston. In this show, we’ll be focusing on the most famous and influential of all Japanese artists: the painter, book illustrator, and print designer Katsushika Hokusai. Even if his name is new to you, you probably already know his most famous work, the woodblock print that has been given the nickname the Great Wave and has become one of the best-known visual images in the world. You will see a number of works based on it in this show, which looks at Hokusai in terms of the many other artists that he interacted with, both directly and indirectly. The works in the exhibition include about one-third by Hokusai himself; about one-third by other artists in Japan during his lifetime, from 1760 to 1849; and about one-third by other artists around the world, from the 1850s right up to the present, who learned about Hokusai’s work later on and found inspiration for their own work in it.

For works of contemporary art related to Hokusai, I’m lucky to have the help of my colleague Kendall DeBoer of our Contemporary Art department, and I’ll ask her to introduce herself now.

KENDALL DEBOER: Hi, I’m Kendall DeBoer, and I’m a curatorial assistant in the Department of Contemporary Art here at the MFA Boston. I specialize in contemporary craft and unconventional materials, and I’ve been delighted to work alongside Sarah on this show as a collaborator, bringing in contemporary artworks influenced by Hokusai. You’ll be hearing from me later on in this tour.

DR. SARAH THOMPSON: Now I’d like to look at one of Hokusai’s most famous images after the Great Wave, the woodblock print that has been nicknamed the Red Fuji. It’s from the same series of prints as the Wave—which you will see later in the show—called Thirty-six Views of Mount Fuji and published in the early 1830s, when Hokusai was already in his seventies. These prints were commercial products, mass produced, and sold in stores. Hokusai did the drawings, and other people then carved the wooden printing blocks—one for each color—and did the printing. Hokusai’s Fuji series was a huge, best-selling success, and it made landscape a major subject in Japanese printmaking for the first time.

Sacred Mount Fuji was an ideal choice of subject for this breakthrough print series, because it is the tallest mountain in Japan and it has a beautiful symmetrical shape that has attracted artists for centuries. The real title of this print, written in the upper left corner along with the series title, is actually Fine Wind, Clear Weather. It’s probably early morning, and the mountain—which appears in different colors in different weather conditions—looks reddish in the dawn sunlight.

Hanging near Red Fuji is a print made in 1999 by the well-known contemporary Japanese artist Yoshitomo Nara, who created a humorous parody showing Mount Fuji as a ski slope by painting over a reproduction of the famous print and then using color xerox to make limited-edition prints of his painting. Also nearby is a 19th- century print by Hokusai’s most successful student, Hokkei, who specialized in designs for privately commissioned prints, known as surimono. This image, from a series of three prints showing lucky things to dream about at new year, looks similar to some of the prints in Hokusai’s Fuji series, but it was probably made a little earlier, in the 1820s. Since Hokusai designed the Fuji prints late in life, many of his students, such as Hokkei, were already successful artists in their own right by that time. So, did Hokkei base his work on an earlier design by his teacher Hokusai? Could Hokusai have been inspired by the work of his own former student? Were both of them looking at depictions of Fuji by earlier artists? Or were they both looking at the mountain itself? There are many possible kinds of relationships between works of art, so keep these ideas in mind as you look at other comparisons throughout the show.

– Lily Hansen, SAM Marketing Content Creator

Image: Fine Wind, Clear Weather (Gaifū kaisei), also known as Red Fuji, from the series Thirty six Views of Mount Fuji (Fugaku sanjūrokkei), about 1830–31 (Tenpō 1–2), Katsushika Hokusai, Japanese, 1760–1849, woodblock print (nishiki-e); ink and color on paper, Museum of Fine Arts, Boston, Nellie Parney Carter Collection—Bequest of Nellie Parney Carter, Photograph © Museum of Fine Arts, Boston.

Meet the 2023 Betty Bowen Award Winner: Tariqa Waters

Rachel Eggers on Oct 23 2023

Meet the 2023 Betty Bowen Award Winner: Tariqa Waters

The Seattle Art Museum and the Betty Bowen Committee are proud to announce Seattle artist Tariqa Waters as the winner of the 2023 Betty Bowen Award! The juried award comes with an unrestricted cash award of $15,000 and a solo exhibition at SAM. This year’s committee included Gary Glant (Chair), Mike Hess, Mark Levine, Sangram Majumdar, Catharina Manchanda, Llewelyn Pritchard, Greg Robinson, Norie Sato, Anthony White, and Merrill Wright.

Tariqa Waters’s innovative practice encompasses mixed-media tableaus, paintings, photographs, film, and immersive installations that push the aesthetics of commercial advertising into surreal, otherworldly territory. It is at the juncture with product advertising that Waters interrogates the importance of styling and beauty, especially its significance for Black women. Her work will be featured at the Seattle Art Museum in a solo exhibition in 2025, with dates to be announced.

Solo exhibitions of Waters’s work have been shown in Seattle at the Hedreen Gallery, the Northwest African American Museum, and the Museum of Museums (MoM). She has been awarded multiple prizes and grants, including the Conductive Garboil Grant, the Artist Trust Fellowship Award, the Neddy Artist Award, and the Artist Trust Arts Innovator Award. Waters is a two-time finalist for the Betty Bowen Award, winning the Kayla Skinner Special Recognition Award in 2020 and the Gary Glant Special Recognition Award in 2021. She was named one of Seattle’s Most Influential People in 2023 by Seattle Magazine.

Samantha Wall
Mary Ann Peters

Samantha Wall won the Kayla Skinner Special Recognition Award and Mary Ann Peters won the Gary Glant Special Recognition Award, in the amount of $2,500 each. Finalists Derek Franklin, Lisa Liedgren Alexandersson, and Ido (Lisa) Radon will each receive Special Commendation Awards in the amount of $1,250, awarded annually since 2020. The six finalists were chosen from a pool of 414 applicants from Washington, Oregon, and Idaho to compete for the $23,750 in awards.

Founded in 1977 to continue the legacy of local arts advocate and supporter Betty Bowen, the annual award honors a Northwest artist for their original, exceptional, and compelling work. Betty Bowen (1918–1977) was a Washington native and enthusiastic supporter of Northwest artists. Her friends established the annual Betty Bowen Award as a celebration of her life and to honor and continue her efforts to provide financial support to the artists of the region. Since 1977, SAM has hosted the yearly grant application process by which the selection committee chooses one artist from the Northwest to receive an unrestricted cash award, eligible to visual artists living and working in Washington, Oregon, and Idaho.

“This award serves as a testament to the countless hours, sleepless nights, and relentless dedication that I have poured into my craft,” says Waters. “It is a validation of the risks I have taken, the boundaries I have pushed, and the artistic growth I have experienced along the way. As an artist, it is not always easy to navigate the complexities of the creative process, but this recognition affirms that my work has resonated with others and has made a meaningful impact.”

The 2022 winner was Portland artist Elizabeth Malaska. Her solo exhibition, All Be Your Mirror, debuts at the Seattle Art Museum November 17, 2023–June 16, 2024. Learn more about Waters and all of the 2023 Betty Bowen finalists here.

– Rachel Eggers, SAM Associate Director of Public Relations

Images: Tariqa Waters by Alex Cayley. Samantha Wall by Stephen Slappe. Mary Ann Peters by Amanda Smart.

Muse/News: Tremendous Hokusai, Indigenous Fashion, and a Gentileschi Revealed

Rachel Eggers on Oct 23 2023

Muse/News: Tremendous Hokusai, Indigenous Fashion, and a Gentileschi Revealed

SAM News

All that’s fit to print! SAM exhibitions were featured in the print editions of two Sunday newspapers:

Calder: In Motion, The Shirley Family Collection, which opens in the double-height galleries of November 8, was previewed by Tanya Mohn for the New York Times, who told the story of “giving the gift of Calder.”

“‘Because of Jon Shirley’s meticulous collecting,’ said José Carlos Diaz, curator of the show and deputy director for art at the museum, ‘we have representation of basically every type of work Calder did as a professional artist from the ’20s, all the way to his death in 1976. It helps us create one of the most important collections of the 20th century in Seattle.’”

And the just-opened Hokusai: Inspiration and Influence, from the Collection of the Museum of Fine Arts, Boston was reviewed by Gemma Wilson of the Seattle Times, who offered “5 highlights of Seattle Art Museum’s tremendous new Hokusai exhibit.”

“Investigate these prints and you’ll notice the tiny details that give his work such a sense of dynamism: snow blowing in, a hat rolling away, water rushing under a bridge. ‘Landscapes so gorgeous they knocked people’s socks off,’ said [MFA Boston curator Sarah] Thompson.”

The dazzling Hokusai exhibition was also recommended by Mike Davis of KUOW, Charles Mudede of The Stranger, and Brangien Davis of Crosscut (who goes birding in this week’s edition of arts picks).

Local News

Via Margo Vansynghel of the Seattle Times: “Meet Gülgün Kayim, the new director of Seattle’s Office of Arts & Culture.”

Jas Keimig for South Seattle Emerald on the launch of FILIPINOTOWN Magazine, “a new publication dedicated to highlighting the diversity and strength of the Filipino American community in Seattle.”

Fashion and culture writer Andrew Hoge with his first Seattle Times story on the Eighth Generation blanket that draped actor Lily Gladstone on the cover of British Vogue. (There’s a callback to SAM’s 2018 Double Exposure exhibition.)

“A cover feature is an impressive milestone for any brand. For Eighth Generation, however, it’s an essential step in the company’s mission to flip the narrative on consuming Indigenous culture and art.”

Inter/National News

Hilarie Sheets for the New York Times on the transfer of a five-ton sculpture by Richard Lippold from Lincoln Center to La Guardia Airport.

Elena Goukassian of the Art Newspaper on Ann Philbin’s retirement from The Hammer Museum in Los Angeles after 25 years as its director.

Sarah Cascone of Artnet on how a female nude by Artemisia Gentileschi, once “prudishly censored by heavy drapes of blue,” is now restored by digital imaging technology. 

“…restoration scientists went over the painting—which curators removed from the ceiling for the first time in its history—with a fine toothed comb, examining every nanometer and every thin layer of paint.”

And Finally

The New Yorker’s Sasha Frere-Jones on Ryuichi Sakamoto.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Chloe Collyer.

Muse/News: Membership Musts, Kucera’s 40th, and Hendricks at the Frick

Rachel Eggers on Oct 16 2023

Muse/News: Membership Musts, Kucera’s 40th, and Hendricks at the Frick

SAM News

Seattle Times readers just GET it (especially Cynthia Ryan). Sarah-Mae McCullough gathered their recommendations for what new arrivals to the city really need and waterproof gear and access to our cultural offerings got top mentions.

“Take this example from Cynthia Ryan. ‘When I moved here, my boss gave me a 1-year membership to the Seattle Art Museum and an enormous umbrella,’ Ryan said. ‘I gave the umbrella away early on but buy my own membership now. I think of it as a present to myself.’”

“Why Seattle Is One Of The Best Cities For A Fall Weekend Getaway”: Katie Chang for Forbes highlights the city’s offerings for local and visitors alike, including the Seattle Art Museum—with a special callout to American Art: The Stories We Carry—and the Seattle Asian Art Museum. 

Local News

Crosscut’s Brangien Davis talks with Rafael Soldi about his new solo show at the Frye Art Museum. There’s an interview and a video.

Chase Hutchison of The Stranger on “Five Films You Need to See at Seattle Queer Film Festival.”

The Seattle Times’ Gemma Wilson on the new show at the Greg Kucera Gallery, which looks forward and back at their impressive roster of artists on the occasion of the gallery’s 40th anniversary. 

“‘Something Old, Something New’ elucidates not only the evolution of an artist’s career over time, it highlights the connective tissue between artist, gallery and arts community.”

Inter/National News

Sarah Cascone for Artnet catches you up on the four artists who are among the 20 winners of this year’s MacArthur “genius” fellowships, each receiving an $800,000 grant.

Via Francesca Aton for Art in America: “Women’s History Is at the Forefront of Judy Chicago’s Retrospective at the New Museum in New York.”

Natasha Seaman for Hyperallergic on the Frick’s exhibition of 14 Barkley L. Hendricks portraits.

“While the exhibition’s premise is to explore Hendricks’s connection to the art history embodied in the museum’s regular collection, its effect is to change the way we view those same paintings.”

And Finally

Meet a “queen that’s thicker than a bowl of oatmeal.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.

1 2 3 4 5 6 … 61
SAM Stories