#SAMSnippets: Embodied Change

Welcome back to #SAMSnippets! In this live series on our Instagram you get an up-close look at works in SAM’s permanent and semi-permanent installations. Each month, we choose a new gallery to walk through, offering you art appreciation wherever you may be!

In January, we featured a diverse collection of artworks from Embodied Change: South Asian Art Across Time. The first special exhibition to open in the remodeled and renovated Seattle Asian Art Museum, the featured works explore social, political, and religious perceptions of humanity and the human body through the lens of past and contemporary South Asian artists. Many of them utilize female and feminized forms in a myriad of ways, including as a devotional object, as a mode of self-representation, and to question the safety of public spaces. Watch the video now to get a peek at what’s on view at the Asian Art Museum now and learn more about the works shown below. Get your tickets now to see the entire exhibition before it closes on July 10!

Photo: Natali Wiseman

The tour begins with a look at Chila Kumari Singh Burman’s Kali (I’m a Mess). For more than 30 years, Burman has used a variety of mixed media to advocate for female empowerment, racial equity, and her Punjabi heritage. Kali (I’m a Mess) was a part of Burman’s recent installation titled Remembering A Brave New World, superimposed over the Tate Britain’s entrance. Perched atop the building’s pediment, the Hindu goddess of destruction and protection obfuscated the statue of Britannia. The text above Kali reads, “I’m a Mess,” a message usually not associated with Kali. Burman takes Kali seriously as a potent symbol of liberation and rebellion and uses this text to speak to political and social concerns that occurred in 2020. Kali (I’m a Mess) is one of a few works in Embodied Change which was acquired into SAM’s permanent collection as a result of being included in this exhibition.

As we enter the exhibition, the camera pans across five earthenware and clay terracotta figures. Originating from the Indus Valley civilization in modern day India, Pakistan, and Afghanistan, these works date back to 2600–1900 BCE. Archaeological digs in the area have revealed numerous small, female figures, usually sculpted with wide hips, small breasts, stocky appendages, and abundant jewelry. Early scholars deified these figures as “mother goddesses” (a manifestation of Devi), creating a tie between past religious beliefs and present-day Hindu practitioners. This interpretation has been reevaluated, questioning whether these items were truly representative of religiosity. Their meaning remains a mystery but the near absence of male figures suggest the body held significant importance.

Next, we see two photographs by Brendan Fernandes: As One III and As One IX. Fernandes is Canadian of Kenyan and Goan (South Asian) descent, and his last name evokes the complex circuits of exchanges between the Portuguese colonial apparatus and western India. In his work, Fernandes is invested in bodies that move, showing that the human body has a range of permutations, meanings, and identities. The artist and his practices does not hold a fixed identity or a singular idea of Europe, Africa, or India. Overall, he envisions “a different process of communication,” one that is body-driven.

These two photographs were created locally. Fernandes used dancers from the Pacific Northwest Ballet in the auditorium of the Seattle Art Museum alongside African masks from SAM’s permanent collection. Using gestures derived from classical French ballet, the two dancers address the African masks with formality and etiquette. Compositionally, the dancers’ heads are hidden, which allows for the masks to stand in for the dancers’ missing faces. Through such juxtapositions, Fernandes forges a bridge between the inanimate and the animate.

Adeela Suleman’s Helmet is part of a series repurposing kitchen objects. Made from utensils including a colander and tiffin (lunch box), the form is gendered as it uses objects typically located in the interior space of the kitchen, often associated with female domesticity. In performance photographs, Suleman dons these helmets, suggesting that women need special armor in their day-to-day movement in the public arena. The rigid and hard helmets provide little real protection. One wonders how much protection Suleman wants her pieces to afford; she seems to gesture to the futility of such an attempt.

Photo: Natali Wiseman

In a glass pedestal adjacent to Suleman’s Helmet, we see Humaira Abid’s Sacred Games-I. Made entirely out of wood, the open suitcase contains clothes, a holy book, a cap, and prayer beads, all the possessions of a religious practitioner who is undertaking a spiritual journey. The gun that is placed alongside the belongings symbolizes both religious extremism and violence toward religion, including attacks on mosques, churches, and other religious buildings. In the artists’s own words, “all societies have extremists who twist religion as well as other social institutions and use it to their own benefit, to oppress women and vulnerable and defenseless people.”

The final section of the video is focused on portraits. Here, the featured artists use the theme of portraiture to challenge bodily ideals and the role of the female body in the arts.

The first portrait we see is B. Prabha’s Untitled. Active in the 1960s when there were few professional female artists, her trademark was elongated figures of rural women with a subdued color palette. Hailing from the small Indian village of Bela, near Nagpur, India, Prabha gravitated to rural village scenes. She painted lower caste women at work and at leisure. In this portrait, the unknown woman rests her back against a tree as she enjoys the company of a bird. Although Prabha typically depicted the silent labor of rural women to show their plight and suffering, she also endeavored to give them grace and personhood by depicting them enjoying moments of rest.

The camera next pans two works by Chila Kumari Singh Burman: Auto-Portrait, from Fly Girl series and Punjabi Rockers. In this first large collage work, Burman distorts her portrait through a range of different guises and manipulations. Her face is stretched, magnified, compressed, and painted with bright colors. Through the act of repetition and the reproduction of the print form, Burman crafts new personas, enacting fantasies of the self as the goddess Kali and as pop icons. As Burman explains, “These self portraits position the construction of racial and sexual identity as a process that is crafted and fluid within the process of representation. My manipulation of the photographic image questions the idea of the photograph as a document of the empirical reality to reveal ‘an image of myself.'” In other words, Burman resists a singular identity. Through the act of printmaking, she can reconstruct multivalent identities for herself.

Photo: Natali Wiseman

In Punjabi Rockers, Burman, a member of the British Black Arts Movement, mines both South Asian histories and pop culture to overwhelm and challenge Euro-American perceptions of South Asian women. She has declared, “My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, toward a position where I, [an] Asian woman, become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture.” Together, these two prints burst forth with levity and joy to convey Burman’s political message of empowerment.

We then see Rekha Rodwittiya’s Untitled. Consistently, Rodwittiya paints female figures with vibrant, bold colors. The scale of her portraits tends to be quite monumental to celebrate the female form. Even in such large compositions, a sense of intimacy is present. In this canvas, a local schoolgirl shows off her spinning top. With her content smile, she is both anonymous and knowable. Regarding her practice, Rodwittiya states, “I live and breathe as a feminist so therefore that is the prism through which I perceive everything around me, and so therefore it would patina my art as well.”

The final work in the video is Mithu Sen’s Miss Macho (Self Portrait), from the False Friends series. Sen paints a mustache on her self-portrait along with overgrown floral vines in her hair and a phallic building on the bridge of her nose. Consistently throughout her practice, Sen applies a confrontational approach to topics related to the body, including sex. This work is part of the series called False Friends, in which Sen asked strangers to take photographs of her. According to Sen, during her childhood, she was considered the “literal black sheep” of her family since she was visibly darker-skinned than her light-skinned female family members. Here, Sen’s face occupies the entire canvas, making space for herself in her social and professional world. Her gaze is both otherworldly and visceral.

– Lily Hansen, SAM Marketing Content Creator

Video Artworks: Kali (I’m a Mess), Chila Kumari Singh Burman, 2020, 6mm 12v silicone LED neon, galvanized weld mesh, 12v switch mode transformers, IP67 plastic box, 137 13/16 x 70 7/8 × 1 3/16 in. (180 × 35 × 3 cm), Richard E. Lang and Jane Lang Davis Acquisition Fund for Global and Contemporary Art, 2021.25. Goddess Figurine, India, Earthenware, 2300–1750 BCE, Earthenware, 4 3/8 x 1 3/4 x 11/16 in. (11.11 x 4.45 x 1.75 cm), Eugene Fuller Memorial Collection, 41.23. Half Figure of a Goddess, India, Earthenware, 2300–1750 BCE, Earthenware, 2 3/4 x 3 x 1 in. (6.99 x 7.62 x 2.54 cm), Eugene Fuller Memorial Collection, 41.24. Fragmentary Figure, India, Terracotta, ca. 3rd millennium BCE–2nd century CE, Terracotta, 7 1/2 x 2 5/8 x 2 in. (19.05 x 6.67 x 5.08 cm), Gift in honor of Millard B. Rogers, 93.31. Fragmentary Figure, India, Terracotta, ca. 2nd–1st century BCE, Terracotta, 3 7/8 x 2 1/2 x 1 1/2 in. (9.84 x 6.35 x 3.81 cm) Overall h.: 4 3/4 in. Overall w.: 2 3/4 in., Eugene Fuller Memorial Collection, 39.36. Fragmentary Figure, India, Terracotta, ca. 3rd millennium BCE–2nd century CE, Terracotta, 4 1/8 x 1 3/4 x 3/4 in. (10.48 x 4.45 x 1.91 cm), Gift in honor of Millard B. Rogers, 93.32. As One III, Brendan Fernandes, 2017, Digital print, 34 x 48 in., Gift of Christopher and Alida Latham, 2019.27.1. As One IX, Brendan Fernandes, 2017, Digital print, 34 x 48 in., Gift of Christopher and Alida Latham, 2019.27.2. Helmet, Adeela Suleman, 2008, Metal with foam and cloth, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Sacred Games-1, Humaira Abid, 2020, Carved pine and wenge woods, Collection of Christopher and Alida Lantham. Untitled, B. Prabha, ca. 1960s, Oil on canvas, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Auto-Portrait, from Fly Girl series, Chila Kumari Singh Burman, 1993, Mixed media and laser printer, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Punjabi Rockers, Chila Kumari Singh Burman, 1993, Mixed media and laser printer, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Untitled, Rekha Rodwittiya, ca. 1990s, Acrylic and oil on canvas, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Miss Macho (Self Portrait), from the False Friends series, Mithu Sen, 2007, Mixed media photocollage on archival paper, Collection of Sanjay Parthasarathy and Malini Balakrishnan.

Questioning Reality: Embodied Change Exhibition Overview

Embodied Change: South Asian Art Across Time opens this Friday, January 14! Our first special exhibition to open in the reimagined and renovated Seattle Asian Art Museum, Embodied Change sees past and contemporary South Asian artists—including Chila Kumari Singh Burman, Chitra Ganesh, Mithu Sen, and Naiza Khan, among others—question social, political, and normative realities tied to humanity and the human body.

Ahead of your visit to the museum, learn about the exhibition from the curator herself. Watch this overview from Natalia Di Pietrantonio, SAM’s Assistant Curator of South Asian Art, to discover the histories and stories behind the works on view in our newest special exhibition.

Want to see the exhibition for free? Attend our community opening of Embodied Change on Friday, January 28 and participate in an artist talk with Humaira Abid or grab a take-away art project designed by artist Deepti Agrawal. As a reminder, every Last Friday is free at the Seattle Asian Art Museum. Reserving tickets in advance is recommended. Click here to learn more about discounted admission opportunities at all of SAM’s locations!

– Lily Hansen, SAM Marketing Content Creator

Image: Miss Macho (Self Portrait), from the False Friends series, 2007, Mithu Sen, Indian, born 1971, mixed media photocollage on archival paper, Collection of Sanjay Parthasarathy and Malini Balakrishnan, T2021.15.2.

Yes/And: A Q&A with New SAM Curator Natalia Di Pietrantonio

Following the debut of the reinstalled and reimagined Asian Art Museum, SAM deepened its commitment to South Asian art by appointing Natalia Di Pietrantonio as the museum’s first-ever Assistant Curator of South Asian Art. In this new role, she’ll foster the next direction of the South Asian collection at SAM and collaborate with curatorial colleagues, especially Xiaojin Wu, Curator of Japanese and Korean Art, and FOONG Ping, Foster Foundation Curator of Chinese Art. Rachel Eggers, Associate Director of Public Relations, interviewed her to learn when she fell in love with South Asian art, her first exhibition for the museum, and the natural beauty of Seattle.

Tell us about your background and how you came to specialize in South Asian art.

I’ve loved art since I was very young and decided to study art history at UC Davis. During a required Asian art survey course, I found myself falling in love with South Asian art. It was completely unexpected! I had not been exposed to South Asian art before then, but starting with that one class it became my career.

I further developed this interest in the classroom of Heghnar Watenpaugh, a notable Islamicist who brought a gender studies approach to the study of art history. Based on a research paper that I wrote during one of Professor Watenpaugh’s courses, I decided to continue my studies and pursue graduate work at Columbia University. After completing a masters at Columbia, I completed a PhD at Cornell University. Both Columbia and Cornell have wonderful South Asian centers with excellent language programs, which were pivotal resources that enabled my research. After I completed my studies, I held two postdoctoral positions: one as the Consortium for Faculty Diversity Visiting Professor in South Asian Art History at Scripps College, and the other as a postdoctoral fellow at the Bard Graduate Center’s Islamic Art and Material Culture. Being hired in both South Asian and Islamic art history fields highlights my interdisciplinary training and diverse professional experience.

My personal and familial background is very different from my chosen career. Both of my parents were immigrants to this country: my father from Italy and my mother from Mexico. My mom in particular was very unsure of my chosen path in the arts but she remained supportive. As a museum curator, however, she recalls her own experiences in museums and sees a lot of value in my work bridging scholarship with community engagement and education through the arts.

Your inaugural exhibition for SAM at the Asian Art Museum, Skin as Allegory (working title), is tentatively scheduled for late 2021. How did you choose the focus for the show?

Due to Covid-19, we’ve had to be nimble. Initially, my first show would have concentrated solely on our historical permanent collection. However, as I became more aware of the important holdings within the private collections of the Seattle community, I expanded the theme of the exhibition to weave in these special works. Skin as Allegory will be the first special exhibition at the Asian Art Museum that blends contemporary and historical objects from South Asia. It will explore visual practices that contain representations and refigurations of the human body, featuring objects from the 3rd millennium BC to present day in a range of diverse material such as terracotta, bronze, metal, painting, and textiles.

You’ll see the poignant works of Chila Kumari Burman (b. 1957) and F.N. Souza (1924-2002) who were active members of British Black Arts Movement after they immigrated to London. In their work, they connect the representation of the body to the broader development of feminist, gender, and racial justice as they struggled against anti-Black racism as South Asians in England. Through their art, they fought for social and racial justice on behalf of communities who were part of the British crown’s former colonies, including those from Africa and Asia. Alongside these exciting loans will be works from our permanent collection, such as photographs by Pushpamala, whose work restages herself and her body to question gender norms in religious and national mythologies within the Indian public sphere.

As you see it, what is the future of this newly formed curatorial department at the Seattle Art Museum?

The future of the South Asian collection is in the hands of all of you! I see my role as an educator, facilitator, and more importantly someone who cares for the collection. I have many ideas of how we can grow the collection while at the same time balancing the need to do justice to our current permanent collection. I have devoted the majority of my career to the study of South Asian objects and have the privilege of working on behalf of this collection everyday. However, I also work on behalf of the public; curators do not act alone. Internally, we work in teams with wonderful colleagues. Externally, we speak and network with many students, collectors, donors, and art lovers.

SAM is the largest museum in the Pacific Northwest, and I have a duty to preserve and honor the current South Asian collection. At the same time, I need to explore how the collection can better reflect the Pacific Northwest community in all of its diversity. For instance, we can become a center for South Asian folk art, showcase more contemporary South Asian female artists, or highlight more artworks in new media to reflect this tech city. It’s a yes/and, not an either/or. I look forward to holding conversations with all of you about how you would like me to honor and grow the South Asian collection.

This exciting new position at SAM came at a very challenging moment in the world. How has it been for you, joining the museum in the midst of a global pandemic?

The SAM staff has been very welcoming. But it has been somewhat difficult to connect with the rest of the Seattle community. The general public is integral to curatorial practice. As a nonprofit, SAM holds its art collection in a public trust. For my work to be meaningful, it has to reflect public needs and desires. For the safety and health of everyone during the pandemic, we must all physically distance ourselves based on the information and advice coming from public health experts. Right now, a large part of my job as a curator and cultural facilitator cannot be undertaken in the usual manner of one-to-one meetings or large group gatherings.

So I, along with the rest of the SAM team, have moved to digital platforms to continually serve the public and bring art into your homes. I have also embraced more of the research aspect of my job, such as writing and researching on SAM’s permanent collection, since it can be undertaken in a more isolated fashion. In this regard, I recently published a research article in one of the most influential journals in my field, Modern Asian Studies. I look forward to the day when we can all safely be in front of the art again and develop more lively connections.

Tell us what you’ve been enjoying about Seattle so far. Any favorite places or experiences?

I have been enjoying the natural beauty of Seattle, waking up everyday to the sight of snowcapped mountains and the Puget Sound. As a former Californian, I forgot how much I missed seeing the mountains everyday! To live with such beauty is truly a gift. To soak up the sunshine as much as possible, I’ve been taking long walks to the Arboretum. My favorite place in Seattle so far is Golden Gardens Park. Any place where I can see and hear the ocean will forever be my favorite place to be.


This newly-created position would not be possible without the vision and generosity of the following individuals

Mimi Gardner Gates 
Anu and Naveen Jain
Rajesh Jha and Sudha Mishra
Shirish and Mona Nadkarni
Sanjay Parthasarathy and Malini Balakrishnan
Suri and Mala Raman
Darshana Shanbhag and Dilip Wagle
Gursharan and Elvira Sidhu
Rubie and Pradeep Singh
Narender and Rekha Sood
Vijay and Sita Vashee

Skin as Allegory Supporting Sponsor
Blakemore Foundation
Images: As One III, 2017, Brendan Fernandes, 1979, digital print, 34 x 48 in., Gift of Christopher and Alida Latham, 2019.27.1 © Artist or Artist’s Estate. Motherland—The Festive Tableau, from the Mother India project, 2009 (print date 2012), Pushpamala N. Archival Inkjet print, 45 x 30 in., Bill and Melinda Gates Foundation Art Acquisition Fund, 2015.25.1 © Pushpamala N.

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