Aaron Fowler Archives

Transforming My Artistic Practice: Emerging Arts Leader Andy DeLapp Reflects

Seattle Art Museum on Jul 30 2024

My application to become a SAM Emerging Arts Leader was a shot in the dark. As an oil painter, object conservation seemed out of my realm. When I was finally offered this internship, however, I felt like I finally had a chance to explore a new aspect of the art world.

Unlike painting, the goal of art conservation is to not grab the attention of the viewer. I dove into projects with the hope that viewers would not see the countless hours I spent chipping away at flaking paint or the brush strokes in my wax applications. An art conservator is a kind of secret hero, working in stealth to make it seem as though all artworks on view have always been bright, shiny, and untouched by time. As a SAM intern, I grew familiar with employing vastly different treatments to an assortment of objects and sculptures.

While working alongside Liz Brown, SAM Senior Objects Conservator, I had the opportunity to help reassemble Me and Pops (2019) an artwork by American contemporary artist Aaron Fowler. It took precision and many hands to lift the plywood backing—when handling art in such an intimate way, I started to notice things that the average viewer might not. I needed to be aware of weak points, sharp edges, and even the fibers of the organic material. Many of those details revealed evidence of the artist’s hand. While thinking through these small details I felt like I was in a conversation with the artist, rather than simply handling an object.

Andy DeLapp and Liz Brown, SAM Senior Object Conservator, at the Olympic Sculpture Park.

I was also able to learn how to treat smaller objects in the museum’s conservation lab with Geneva Grisworld, SAM Associate Object Conservator. I gained insight into the research and documentation that conservators are required to complete before treating any object in the museum’s collection. Focusing on an 18th century French mus t ard cup, I took care in documenting every feature, scratch, and dent. I then made a mixture of calcium carbonate and ethanol to delicately remove the tarnish layer by layer. Slowly, and much to my satisfaction, the dull orange-tinted surface transformed into a dazzling silver. I made my own file on The Museum System (TMS) to document the cup’s condition, treatment, and analysis. I took a lot of joy in researching the history of mustard cups, especially discovering that this particular mustard cup was likely missing a spoon!

As an artist, I now think about how my own two-dimensional painting practice relates to object conservation. I think about my methods, the paints I use, and the craftsmanship of my hand-stretched canvas. I ask myself, “Will future conservators need to re-tension my canvas? What can I do to prevent paint lifting in the future? Should I note the pigments used in case the paint flakes?” The behind-the-scenes look at art conservation I received as a SAM Emerging Arts Leader has shattered the barrier that once sat between myself and the intimidating white museum walls.

I am extremely grateful for my experience as a SAM intern and am eternally grateful for the guidance offered by my supervisors on the conservation team. As my internship comes to an end, I will be pursuing jobs in art handling, and carrying my knowledge of conservation into my painting practice. I take pride in contributing to my community by caring for our beautiful art, and I sincerely hope my work at the Seattle Art Museum is unseen by the viewer.

– Andy DeLapp, Emerging Arts Leader Intern in Conservation

Object of the Week: Me and Pops

Elisabeth Smith on Feb 11 2022

An artist whose work defies easy definition, Aaron Fowler’s “memoiristic, maximalist bricolage” sculptures are comprised of carefully sourced found materials and second-hand objects that have the “feel of human in them.”¹ Taking compositional cues from American history painting, religious iconography, and family lore, Fowler’s work includes both imagined narratives and real stories from his own experiences as well as those of his friends and family.

Me and Pops—included in the artist’s 2020 solo exhibition at SAM, titled Aaron Fowler: Into Existence—depicts the artist in the foreground, ironing used clothing that will later be incorporated into a sculpture. He works alongside his father, a relationship that he hoped to continue building. The background includes references to other works (then in-progress) that were also included in his SAM exhibition—a nod to moments in the past as well as hopes for the future—while the canopy structure overhead refers to a shared dream with his father to build a home on their own land. Fowler describes his mirrored self-portrait as a means by which others can see themselves within the personal dreams he is relaying, lending them a more universal message: “I’m having these experiences to share with others…So whether it’s good, bad or ugly—I feel these experiences I’m having are not just for myself.”

A sense of optimism, ambition, and aspiration underscore Fowler’s practice. Me and Pops, like so many of his works, depicts a poignant subject and action that the artist wished to manifest, borrowing from the words of encouragement spoken by his grandmother: “you need to speak it into existence.”

– Elisabeth Smith, SAM Collections and Provenance Associate

1 Press Release, “Aaron Fowler: Exceedingly and Abundantly Blessed,” François Ghebaly, http://ghebaly.com/wp-content/uploads/2018/11/2018Fowler_PR.pdf.

Image: Me and Pops, 2019, Aaron Fowler, Mixed media, 97 × 74 × 6 1/2 in., General Acquisition Fund, 2020.25, ©️ Artist or Artist’s Estate.

Object of the Week: Amulet in Shape of A Human Figure

Elisabeth Smith on Oct 23 2020

One way to get closer to a work of art is to begin to imagine the sounds that surrounded the artist as they created it. Two examples illustrating this are both amulets––objects charged with setting up a protective force field. The first is from ancient Egypt, among the oldest objects on the 4th floor galleries, and the other is one of the newest, which has been on view in the Jacob Lawrence Gallery on the 3rd floor since December of last year.

A carver living in Naqada long ago would reside on the west bank of the mighty Nile river. If he was an early riser, and close enough to the river, he would be likely to hear the most aggressive creature in his midst: the hippopotamus. Hippos let loose with a roar each morning at sunrise, and again at sunset. When gathered in groups, hippos vocalize all day with loud exchanges that help alert humans to their presence. This behavior is helpful, since to startle or challenge a hippo is a dangerous mistake, as they harbor an unpredictable power to outrun a human in short distances, overturn boats, and open their mouths to reveal their ultimate weapon––enormous teeth. Hippo canines are up to one-and-a-half feet long, and the carver of this amulet took just a tiny sliver from one to create an image of a man less than 2 inches tall. In this amulet, the carver captures a man’s form in a compelling abstraction––he has a long triangular beard and piercing eyes, all the better to watch over the owner, placed in a burial to ensure the deceased had a safe, healthy, and productive afterlife.

Aaron Fowler lets us know immediately what sounds were behind him when he composed his enormous sculpted amulet suspended with a rope. It has the same shape as the logo of Death Row Records, which Rap stars such as Tupac, Snoop Dogg, and Dr. Dre all wore to show allegiance to the record company. Here, Fowler embeds his friend Debo in their musical pantheon. On one side, Debo is depicted incarcerated and in prison clothes, sitting on a flattened armchair, while on the other side he appears free in a djelaba (hoodie) that Aaron designed for him. Fowler frames his friend with electronic lights and an iconic musical form to make Debo Free into a painful and protective tribute.

– Elisabeth Smith, SAM Collections and Provenance Associate

Image: Amulet in shape of a human figure, ca. 5000-2920 BCE, Egyptian, bone, 1 3/4 x 3/4 x 1/4 in., Gift of Nasli M. Heeramaneck, 64.33.1. Installation view of Debo Free, 2019, Aaron Fowler, American, born 1988, in the exhibition Aaron Fowler: Into Existence, December 13, 2019- October 25, 2020, photo: Jueqian Fang.

SAM Talks: Aaron Fowler on Into Existence

Chelsea Werner-Jatzke on Jun 24 2020

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

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

Muse/News: A journey to Amerocco, book nerds, and environmental art

Rachel Eggers on Apr 27 2020

SAM News

The Seattle Times’ Brendan Kiley reported on the huge financial impacts of the coronavirus on local arts organizations. He spoke with SAM director Amada Cruz.

“Despite this, Cruz said SAM has been able to preserve all of its 217 staff jobs through June, with a combination of executive pay cuts and a $2.8 million loan from the CARES Act.”

Nancy Kenney of the Art Newspaper also reported on the payroll loan program and the financial status of US museums, mentioning SAM.

This week, Stay Home with SAM offered Earth Day tips and an art project inspired by El Anatsui, introduced the SAM Book Club’s latest pick (Octavia Butler!), and explored the in-between identities of Aaron Fowler’s Amerocco.

The Seattle Times’ Brendan Kiley included details on Stay Home with SAM in his round-up of “the most intriguing streaming and online arts events” for the week.

And Geekwire’s Lisa Stiffler on the “digital lifeline” provided by local arts organizations, including Stay Home with SAM.

Local News

Special to the Seattle Times, writer Sarah Neilson connects with six creatives on what inspires them about Seattle and the Pacific Northwest.

Stefan Milne of Seattle Met looks at two “ambitious” streaming events on the horizon, and whether they can fill the void for what would have been a busy summer of festivals and fundraising.

Crosscut Brangien Davis has her weekly editor’s letter, with lots of arts recommendations and on Seattle’s popular Silent Reading Party, which has gone remote.

“At chapter breaks, I’d glance up to check in on my fellow book nerds, who were reading while sipping a drink, rocking a baby or petting an insistent cat. It felt so nice to go to a party — even one that’s silent and virtual — where people allow a camera into their private rooms, just to read and be together.”

Inter/National News

Muse/News recommends: a streamable documentary on Hilma af Klimt, The Rubin Museum of Art’s Daily Offerings, and, well, all the things the Artnet editors recommend.

For Earth Day, Artsy explores “10 Artists. . .Making Urgent Work about the Environment,” including John Akomfrah.

Phillips’ blog talks with art world leaders for their series, How We’re Adapting. Bobbye Tigerman, a curator at LACMA, shares her new Zoom background and thoughts for the future.

“This experience has stimulated my thinking about the role that museums can play for those who are not physically able to visit them, whether for health, economic, or other reasons. I wholeheartedly believe in the transformative experiences by a physical encounter with a work of art, but when that is not feasible, how else can we offer authentic engagement to our visitors near and far?”

And Finally

Test Kitchen Hive, assemble.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Natali Wiseman

My Favorite Things: Ramzy Lakos on Amerocco

Chelsea Werner-Jatzke on Apr 23 2020

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

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

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

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

Muse/News: New art at SAM, a lavender palette, and Donald Byrd’s America

Rachel Eggers on Dec 9 2019

SAM News

Two installations debut at SAM this week:

Susan Delson previews Exceptionally Ordinary: Mingei 1920–2020 for the Wall Street Journal, interviewing curator Xiaojin Wu about the movement’s “intimate beauty of honest craft.” The show opens on Saturday.

Aaron Fowler: Into Existence “gleefully disrupts standard boundaries between painting and sculpture,” says Seattle Met, recommending the solo show of the 2019 Gwendolyn Knight and Jacob Lawrence Prize-winner as one of the “Top Things to Do This December.” The show opens on Friday.

Local News

Seattle Met’s cover story for December is “The 30 Women Who Shaped Seattle,” including women with connections to SAM such as Guendolen Carkeek Plestcheeff and Zoë Dusanne.

Crosscut’s Agueda Pacheco Flores reports on the Snoqualmie Tribe’s acquisition of Eighth Generation; it was announced concurrent with Governor Inslee’s proclamation of Native Arts Week in Washington State.

The Seattle Times’ Brendan Kiley reviews The Lavender Palette, a new exhibition at Cascadia Art Museum curated by David Martin. It features early- to mid-20th-century gay and lesbian artists from the Pacific Northwest.

“Honestly, I wanted to avenge them,” Martin said. “At Cascadia, you will never see wall text that says ‘Morris Graves and his close friend’ like a lot of museums do — even in New York and Los Angeles, even in Seattle. No. Here you will always see ‘Morris Graves and his boyfriend’ or ‘and his partner.’

Inter/National News

Artnet’s Taylor Defoe reports: The four artists nominated for the 2019 Turner Prize—Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo, and Tai Shani—will receive the award as a collective, at their request.

Artsy gives us a look at Mickalene Thomas’ celebratory new show, Better Nights, at The Bass in Miami Beach, replete with her signature installations and the work of her fellow artists.

“Can Dance Make a More Just America? Donald Byrd Is Working on It” is the fantastic headline in this New York Times profile of choreographer Donald Byrd, timed to the exhibition at the Frye Art Museum.

“Despite the proliferation of dance in museums over the past decade, exhibitions focused on the work of a single living choreographer remain rare. The America That Is to Be presents an in-depth portrait of a bold, enigmatic artist.”

And Finally

Scrolling the deep sea.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Derion, 2018, hot tub cover, wood, children’s cotton and nylon coats, cotton balls, enamel paint, acrylic paint, broken mirrors, theater seats, concrete cement, 115 x 95 x 28 in. Photo: Robert Wedemeyer. Image courtesy of the artist © Aaron Fowler.

Muse/News: Awards, enchantments, and a lullaby from Rita Moreno

Rachel Eggers on Jan 28 2019

SAM News

Last week, SAM announced that Aaron Fowler is the recipient of the 2019 Gwendolyn Knight and Jacob Lawrence Prize. Fowler will receive a $10,000 award, and his work will be featured in a solo exhibition at SAM in fall 2019. ARTnews, Culture Type, Artdaily, Artnet, and Hyperallergic were among those who shared the news.

“Seattle, prepare to be enchanted by Gibson.” The Seattle Times’ Brendan Kiley takes a “Look Ahead” at February events, recommending our upcoming exhibition, Jeffrey Gibson: Like a Hammer.

Local News

The Seattle Times debuts an occasional series that asks, “How do they do that?” Up first: Moira Macdonald tries to understand the en pointe balancing poses in Pacific Northwest Ballet’s Sleeping Beauty.

“It’s OK Not to ‘Get’ Art” The Stranger’s Jasmyne Keimig reminds us in this review of the Danny Giles show at the Jacob Lawrence Gallery.

Seattle Met’s Stefan Milne previews the durational performance piece Cherdonna Shinatra: Ditch, one of three shows opening at the Frye tonight.

“We call her MomDonna, this huge sort of matriarchal ruin in the space. MomDonna is in the space as if she’s been there for thousands of years seeing humans just keep trying.”

Inter/National News

Who else was obsessed with the sculptures created by the character Fonny in If Beale Street Could Talk? Artnet’s Sarah Cascone goes behind the scenes to learn how they did it.

This week in journalism: The New York Times reports that the building housing the Newseum in DC has been sold, and about 1,000 media workers at Buzzfeed, HuffPost, and Gannett were laid off.

Hyperallergic on the portraits of Hugh Mangum, now on view at the Nasher Museum of Art. His glass plate negatives were rediscovered in an old barn and offer a compelling look into turn-of-the-century American South.

“In the scratches, cracks, fingerprints, and delicate color shifts that surround and sometimes cover the sitters’ faces, we are looking at portraits of individuals through the unmistakable portal of time.”

And Finally

Here’s Rita Moreno singing “It’s You I Like” accompanied by Mister Rogers.

Image: Derion, 2018, hot tub cover, wood, children’s cotton and nylon coats, cotton balls, enamel paint, acrylic paint, broken mirrors, theater seats, concrete cement, 115 x 95 x 28 in. Photo: Robert Wedemeyer. Image courtesy of the artist © Aaron Fowler.