“Affordable, artsy, and amusing items”: Crosscut has your shopping list covered with this round-up of museum gift shops, including highlights of artist-made selections from SAM Shop! You can find incredible gifts at the Seattle Art Museum, Seattle Asian Art Museum, and online.
“SAM Shop is a big, sprawling bonanza of artful gifts, including several cases of handmade jewelry by local makers. Look for thin geometric earrings by Kim Williamson, pearled pieces by Simon Gomez and chunky metal works by Sarah Wilbanks. One wall showcases a large collection of carved and painted wood pieces by Coast Salish artists, including salmon, bear, wolf and eagle plaques by Squamish artists Richard Crawshuk, Neil Baker and John August.”
Supreme doesn’t know how many records he has now—’I stopped counting around 50,000’—but his garage is full of vinyl, and the top floor of his home is overflowing too. Even still, he doesn’t plan to stop any time soon. ‘Only when I have to move.’”
Artnet has published The Burns Halperin Report, a data-based reporting package on equity and representation in museum collections and the art market. SAM participated in this important project by sharing information on its collection.
“They see the cafe as a ‘place of continuity,’ where basket makers and other artists from around the state might gather under its traditional redwood shade structure, or ramada. It is already a new kind of landmark where, as Medina put it, ‘elders can get dressed up to the nines, come out for a Saturday night dinner and be able to sit at the head of the table.’”
“Both poetic accents and metaphorical embodiments of what lies ahead, geographies appear majestically in Yang Yongliang’s two 4K videos, The Return and The Departure. Here, the artist marries images of cities with organic material to create a kind of dystopia. ‘Besides Yang’s reference to Song Dynasty-era ink paintings, the images speak of Seattle, where new skyscrapers mushroom everyday,’ Foong notes.”
And check out SAM’s video interview with another Beyond the Mountain artist, Lam Tung Pang.
“The ‘I Spy’ nature of the paintings gives them a fun, gamelike quality, while the overcrowded canvases cause a sense of mental overwhelm — the work recreates the experience of navigating the full-throttle, consumeristic society we live in today. We hate ourselves for spending hours scrolling Instagram, yet we cannot put our phones down.”
“It’s tricky business—which is why some artworks in Sound Transit’s light rail stations, particularly the more recent ones, are so striking. Unlike many of their earlier, inert cousins, they’re a little strange, unusually absorbing. They want to talk to you, sometimes in a whisper and occasionally like an ancient choir from a distant civilization singing in a long-forgotten key.”
“When artists fold spiritual practices into their artwork, many withhold explanation—those familiar with the context will understand the symbols, while others will still be privileged to enter what has become a blessed space, even if they’re not aware of its implications.”
Hong Kong-born and Vancouver-based artist Lam Tung Pang made his Seattle debut earlier this year in Beyond the Mountain: Contemporary Chinese Artist on the Classical Forms at the Seattle Asian Art Museum. In September, the artist made the trip to the museum to see his artwork The Great Escape (2020) in the galleries for the first time. While in town, we sat down with the remarkable contemporary artist to talk about his pandemic-inspired kinetic installation and what it means to bring classical Chinese practices into the modern era. After you’ve watched the video, read below for even more from our conversation with the artist!
SAM: How does it feel to be showing your artwork to Seattle audiences for the first time?
LAM TUNG PANG: It’s so exciting to debut my artwork here in Seattle and especially at the Seattle Asian Art Museum! This museum features a lot of very interesting antique work, but my artwork is modern. It’s fascinating to see this all together in one museum, and I hope audiences will enjoy seeing all of this in one setting.
SAM: You worked with FOONG Ping, SAM Foster Foundation Curator of Chinese Art, in bringing your artwork to life. What was it like to collaborate with her from afar?
LTP: I met Ping last year when she [virtually] walked me through the gallery space and we discussed how to best display my work. It was a big challenge because I hadn’t shown my artwork in this setting before and wanted to add in new elements. So, the version of The Great Escape that you’re seeing now at the Seattle Asian Art Museum was made especially for this exhibition and the audiences here. In working with Ping, I was talking to someone that had a good knowledge of traditional Chinese art but at the same time was open to incorporating new and contemporary art. When you work with someone like Ping who is really passionate about art, it’s amazing.
SAM: Tell us about The Great Escape. What inspired this work?
LTP: It came together in 2020 during the pandemic. I couldn’t really go back to my studio at the time, so I began copying drawings I saw in children’s books as an escape from reality. I then took all of these drawings and turned them into an installation. What I suggest audiences look at specifically is the one row of drawings that is taken out of the installation and hung on the wall. When you look at the rotating projection, eventually you’ll see a gap, which the light passes through and illuminates the wall in the gallery space. This isn’t a high-tech synchronized setting, but you do see different images project alongside the drawings on the wall. So, please come spend a bit more time looking at The Great Escape because you’ll have a totally different experience every time you see it.
A version of this interview first appeared in the January 2023 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.
Curating an art exhibition isn’t a competition—unless you’re a University of Washington student attending the School of Art + Art History + Design’s upper-level seminar, Exhibiting Chinese Art, taught by FOONG Ping, SAM’s Foster Foundation Curator of Chinese Art.
Pivoting from in-person to virtual learning, FOONG thought a little friendly competition would engage her students. She split them into teams and assigned three seemingly unrelated artworks by contemporary Chinese artists for them to research. Each team created a cohesive and imaginative exhibition framework to display the three works.
“I wanted to challenge my students, and they really impressed me,” says FOONG. “This exhibition has been in the works for a long time, but a few of their ideas have since been incorporated into the show. Beyond the Mountain wouldn’t be what it is today without their insights.”
Opening this July, Beyond the Mountain: Contemporary Chinese Artists on the Classical Formsis the latest special exhibition to open at the renovated and reimagined Seattle Asian Art Museum. Introducing Chinese artists never before exhibited at SAM as well as drawing from the museum’s collection, the exhibition sees artistic themes of the past revitalized. It explores age-old subjects such as Chinese ink painting, proverbs, and landscapes while reflecting upon current or recent events—from the global language of street protests to escape in a time of contagion. Together, the artists contemplate the societal toll of modernity and globalization as well as the impact of humans on the natural world.
One of the works FOONG is most excited to see back on view is Ai Weiwei’s Colored Vases (2010). An acclaimed contemporary artist and outspoken dissident, Ai dipped nine earthenware vases into buckets of industrial paint and then left them to dry. In covering the surface of these purportedly ancient artifacts with bright new paint, Ai suggests that our perceptions of authenticity are a status quo that might be challenged. Much like history, he says, the vases are “no longer visible, but are still there.”
Another highlight are two videos by Yang Yongliang. From afar, these large-scale projections look like classical ink paintings—until you realize that they are actually digital pastiche of video and photography where construction cranes and other modern interventions disturb the majestical natural scene.
“The exhibition is about this moment in our lives,” says FOONG. “These Chinese artists engage with classical Chinese themes, but they speak to everyone.”
Read below for a short interview with exhibition curator FOONG Ping on visitors can expect to experience in the galleries.
SAM: What artwork are you most excited for audiences to see and interact with in the galleries?
FOONG Ping: With this exhibition, I’m introducing Seattleites to an artist new to us: Lam Tung Pang. He has created a site-specific installation in one of our galleries that I really think is going to blow people’s minds. It’s titled The Great Escape and responds directly to his experiences of the COVID-19 pandemic in Hong Kong. To escape the stress of the 2020 lockdown, Pang started reading kids’ books and also became fascinated with the master of escape, Harry Houdini. The artwork reflects this specific time in our lives and his thinking about the ways we might free ourselves from constraints—mental & physical—that bind us. I’m confident that the piece goes beyond expectations when people think about Chinese art.
SAM: You’ve described this exhibition as both traditional and modern Chinese artistic forms. How is this seen throughout the exhibition?
FP: Everyone has certain stereotypes about Chinese art—including Chinese folks! Although there are common Chinese artistic elements of ink-brush painting and images of landscape, Beyond the Mountain is so much more than that. The artists in this exhibition have taken these identifiable ideas from Chinese art and transformed them for a modern audience. This exhibition is intentionally small and precise, so visitors can deeply explore each artwork’s clear and distinct voice.
SAM: What message do you want audiences to take away from this exhibition?
FP: I want audiences to understand the legacies of Chinese art, language, and culture and how these legacies remain incredibly relevant today. No matter a visitor’s background, Beyond the Mountain reveals the existence of a global common language, where everyone can reflect on Chinese history and make a connection to their own experiences.
– Lily Hansen, SAM Marketing Content Creator
Segments of this article first appeared in the July and October 2022 editions of SAM Magazineand 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.
In short, Seattle is back, but not all the way…But the city’s defining cultural institutions remain healthy, new restaurants and coffee places are popping up all over town, and the communities ringing the center are more vibrant than ever.”
“It’s a knockout show, with bold, tech-enhanced, multimedia works playing off traditional images and themes. And it’s also a fitting symbol of Seattle in the aftermath of the pandemic.”
Lonely Planet writes up “the 8 best museums in Seattle for a rainy day”; all three SAM locations get a mention, even the outdoor space of the Olympic Sculpture Park. You know what they say: no such things as bad weather, only bad clothing!
Qina Liu for the Seattle Times on the opening of Loving Books, a Black-owned bookstore in the Central District, which curator Kristina Clark long envisioned as a “safe place where Black children could be Black children — where Black children could fully belong.”
“Oppenheim’s inventive, shape-shifting works are difficult to classify. Unexpected combinations of materials, like fungus, buttons, and dried pasta with wood, stone, and clay, speak to her sense of imagination and experimentation. Nature and transformation are at the core of many pieces, but her message to viewers is ultimately open ended.”
“The immersive, multimedia exhibition is small—a casual viewer could survey the handful of pieces in minutes—but it’s one that rewards a more thoughtful approach, revealing new layers and details the longer you look. Each artist relates classical forms with timely themes, addressing topics from street protest to quarantine.”
Lonely Planet’s “8 best beaches in Washington State” includes the pocket beach at the Olympic Sculpture Park, noting that “at low tide, you (and the kids) can explore tidepools brimming with marine life, from sea stars to chitons, all within view of the Space Needle.”
SAM Remix: The clouds didn’t keep you beautiful people away! We were thrilled to bring back the late-night art experience to the Olympic Sculpture Park last Friday–and thrilled for the shoutouts from The Stranger, The Ticket (new site alert!), Seattle Met, and Seattle Times.
“What’s delightful about the piece is that even though the garden of PNW plants is virtual, it still grounds me in reality. Vichayapai’s personal rendition of Seattle’s summer made me think about the foliage and smells and textures I associate with the season.”
“Mr. Kulzer, an art teacher at Eden Valley-Watkins High School who specializes in sculpture, spent two years shadowing Ms. Christensen in order to learn the intricacies of working with cold butter, which is harder to manipulate than the soft-water-based clay he’s accustomed to…Teaching is the second-best job in the world, he said. ‘The first is carving butter heads.’”
“There’s no such thing as spending too much time in a museum. But as much time as you spend walking between artworks, pausing to absorb the work or read the accompanying text, you’ll never see a museum’s art quite the way those who regularly work around it do.”
“The beauty of the museum is that it allows for interesting juxtapositions of artworks against architecture from the 1930s, and the ability to move works already on view into different configurations to satisfy new goals.”
Crosscut’s Brangien Davis also featured the “compact but compelling” new exhibition, which is just one show on view now in Seattle about people’s relationship to nature. (Margo Vansynghel also blurbed the show for their August things to do list.)
“Sit for a spell as the black-and-white images emerge slowly from the mist. Squint and you’ll start to see jagged mountains appear—but look even closer, and you’ll notice that these monoliths are made from so many skyscrapers. A rushing waterfall proves to be a highway packed with cars. Those trees? Construction cranes. The artist created these astonishing works by combining thousands of photographs and videos from megacities, thereby painting a natural landscape from man-made ambition.”
You don’t want to miss the triumphant return of SAM Remix, the 21+ after-hours art experience, held at the Olympic Sculpture Park on Friday, August 26. Curiocity fills you in on the details.
“I like to go head back up the incline and into the SAM park that zig-zags over the train tracks and street to that big orange structure with the orange chairs – another great place to rest in the shade, adjust your playlist or take out a sketch pad for a while before heading back into Belltown and home again.”
“Bruce Lee could blast a man backwards with one punch, but his identity as an intellectual and voracious reader was far less known. ‘You think of Bruce Lee as a martial artist and as an actor, but you don’t necessarily think of him as a philosopher,’ says Jessica Rubenacker, exhibit director of Wing Luke Museum.”
“Guston makes the imagery more visually striking by sticking strictly to variations on red and blue; the bluntness and obtuseness of its iconography is compellingly mysterious, as disembodied fingers, pointing hands, and crude painter’s canvas float monumentally but awkwardly around each other in space. Its painterly surface is tinged with naiveté. What a rare pleasure to see his painting up close.”
“What’s up with all these rabbits everywhere?” asks Brendan Kiley for the Seattle Times’ Pacific NW Magazine. For the story, he met up with Bobby McCullough, Facilities and Landscape Manager at the Olympic Sculpture Park, to go in search of King Bunny, a resident bunny who may be responsible for a good number of the 500+ rabbits who make the sculpture park their home. P.S. Check out our video series Botany with Bobby for more stories from the park.
Crosscut’s Black Arts Legacies project, which launched in June, is still delivering. Here, project editor Jasmine Mahmoud writes about singer Ernestine Anderson, who had a voice like “honey at dusk.”
“Ernestine was jazz and blues personified — she musically participated in both worlds,” daughter [Shelley] Young says of her mother’s musical impact. “Singing the blues involves storytelling,” she continues, “and she loved telling a story.”
“[Former Seattle SuperSonic Spencer] Haywood said in an interview on Sunday that he and Russell would often dine at a Seattle restaurant called 13 Coins after road trips, and Russell would regale him with stories about the civil rights movement.”