Muse/News: Impressive SAM, Not Static, and Baltimore Queen

SAM News

“Art-loving families should visit the Seattle Art Museum” this summer, says Mark Sissons for Vancouver’s VITA Magazine, thanks to our “impressive” collection galleries and our summer exhibition Poke in the Eye: Art of the West Coast Counterculture, which opens this week on Thursday, June 20!

Nick Hilden for The Observer comes to town to discover “Where to See the Best Art in Seattle” and while at SAM finds that “the museum boasts an impressively eclectic range of works.” 

Via Nura Ahmed for South Seattle Emerald: “Tacoma Artist Anida Yoeu Ali Demands to Be Seen.”

Local News

Have you been keeping up with this season of Cascade PBS’s Black Arts Legacies? They’ve rolled out eight incredible profiles; earlier we shared the one of Gwendolyn Knight Lawrence, but you won’t want to miss the ones of DJ Riz Rollins, painter Moses Sun, glass artist Debra Moore, and more.

Sara Jean Green of The Seattle Times reports on the “long-promised Super Block” coming to the Central District that will feature a public art installation on the neighborhood’s history.

Via Rachel Gallaher for Seattle Magazine: “Tacoma Art Museum’s latest show reconsiders the meaning of Western American art.”

“The four curators are giving space to 17 contemporary artists whose work is often excluded in the context of collections like the Haub. ‘The art of the American West is not static,’ [curator Faith] Brower says. ‘There are many artists creating work that will further our understanding and deepen our connections to this iconic region.’”

Inter/National News

“I can act a fool, I can be delirious, I can give into anger, I can give into joy, into love”: Anthony Hudson AKA Carla Rossi interviews Jeffrey Gibson for BOMB Magazine. While you’re at it, rewatch this video of Carla’s visit to Like a Hammer (it’s our…52nd rewatch? But who’s counting?). 

Arun Kakar for Artsy with “The 10 Best Booths at Art Basel 2024,” including works by Jaune Quick-to-See Smith at Garth Greenan Gallery’s booth.

“How an Artist Became the Queen of Baltimore”: Aruna D’Souza of The New York Times spends the day in Baltimore with Joyce J. Scott on the occasion of her career retrospective, which is co-organized by BAM and SAM and travels to Seattle this fall.

“She sees her life as an artist as modeling for others another way of being and living,” said Catharina Manchanda, a curator at the Seattle Art Museum. “She has an incredibly strong conviction that every artwork has a role in bringing people together and offering people an opportunity to learn together, but she also models a whole new way of being an artist within a community. It’s not as much a career for her as a way of life.”

And Finally

“A Photographer Wins a Top Prize in an A.I. Competition for His Non-A.I. Image.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.

Muse/News: SAM award news, the Space Needle is a she, and Dr. Seuss at the museum

SAM News

Last week, SAM announced the finalists for this year’s Betty Bowen Award: Andrea Joyce Heimer, Anthony Hudson, Adair Rutledge, Lynne Siefert, and Anthony White.

The solo exhibition of the 2018 winner, Natalie Ball, was reviewed in Art & Object.

“Subverting tropes about Native American identity and art by repurposing familiar materials, Ball points out the absurdity of our assumptions.”

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is on regal display on the cover of this week’s Real Change; inside, don’t miss Lisa Edge’s review of the installation.

“Let’s have positive images of ourselves that are done with love,” said Muholi. “Let us consume this self-love because our forefathers, our foremothers that came before us never had the opportunity to speak for themselves.”

Local News

“The Space Needle is a she.” Crosscut’s Brangien Davis on a documentary exploring the hidden history of Seattle’s iconic landmark: its shape may have been inspired by a Black dancer named Syvilla Fort.

The City’s Art Beat Blog has a recap of the recent Creative Advantage Arts Partner Summer Institute, held at SAM; this year’s theme was “exploring the local.”

The Stranger’s Jasmyne Keimig goes home to Wa Na Wari, reviewing the center’s newest show featuring work by several artists, including Nastassja Swift’s video of masked dancers.

“Swift’s video, no more than 10 minutes long, grapples with the concept of home, being home, having a home, feeling at home in one’s body and community. In that way, it fits well at Wa Na Wari. Where do we belong?

Inter/National News

Artforum reports that Werner Kramarsky passed away this week at the age of 93; a formidable collector, he donated 25 drawings to SAM over the years.

Artnet’s Ben Davis takes a look at Dia:Beacon’s new permanent gallery dedicated to Sam Gilliam and his signature “drape” paintings.

The New York Times’ Guy Trebay attends the 16th annual edition of the influential and popular International Folk Art Market, which explodes the art-world schism between fine art and craft.

“It comes out of nowhere, out of nothing,” he added. “There’s not a tradition for it. It’s just some guy saying, ‘I want to make this thing.”

And Finally

Double Dr. Seuss news: Oh, the museums you’ll go!

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of “Twinkle, Twinkle, Little Snake” at Seattle Art Museum, 2019, photo: Natali Wiseman.

Artists on Art: Carla Rossi

“Approach the art, do not cross the line, look, turn to your friend and say, ‘my kid could do that,’ and then walk away!”

– Carla Rossi

https://www.youtube.com/watch?v=R1jlanSSplo

Follow Carla Rossi, an immortal trickster and your unofficial tour guide through Jeffrey Gibson: Like a Hammer. Gibson’s contemporary art combines powwow, pop culture, and punching bags to explore what modernity means within Indigenous cultures. Carla Rossi combines drag, clowning, and entitlement to address complacency, and the confusion of “mixed” identities. See through Carla’s eyes when you visit Like a Hammer.

This video is one of a series presenting Northwest Native American artists responding to Gibson’s work. The character of Carla was created by Anthony Hudson, a multidisciplinary artist, writer, performer, and filmmaker. Hudson, a member of the Grand Ronde tribe, started performing as Carla as an art project in 2010 and has since turned Carla into a full-fledged persona, body of work, and occupation. Hudson prefers the term “drag clown” over “drag queen” because he’s not trying to emulate women. Carla is a tool for critique. When he performs as Carla, Hudson wear whiteface in direct allusion to whiteness, clowning, and as a critical inversion of blackface.

Jeffrey Gibson believes, “everyone is at the intersection of multiple cultures times, histories. . . . that there’s a lot more to be gained at the space in between mapped points then there is at the mapped points. . . . I’m always looking for these in-between spaces of things.” Similarly, Anthony Hudson (Grand Ronde), is interested in “in the edge – that line between satire and sincerity, between critique and reification—as a site where transgression and transformation occur.”

Jeffrey Gibson is of Cherokee heritage and a citizen of the Mississippi Band of Choctaw Indians. He grew up in urban settings in Germany, South Korea, the United States, and England, and his work draws on his experiences in different cultural environments. In his artwork, materials used in Indigenous powwow regalia, such as glass beads, drums, trade blankets, and metal jingles, are twined together with aspects of queer club culture as well as the legacies of abstract painting. Jeffrey Gibson: Like a Hammer is a major museum exhibition presenting a significant selection of this contemporary artist’s exuberant artwork created since 2011. The presentation in Seattle closes on May 12.


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