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!
I’m assuming you are confused as to what is happening. Where you are, how you will get back, why you are here, all these questions are dancing in your mind. It’s okay, all will make sense in due time. Here are the basics we should begin with. Yesterday, on your way home from work, you stumbled upon a rectangular, wooden box. The box had the symbol of a lion and a sun engraved on its wooden exterior. Naturally curious, you opened the box and saw spinning gears. The gears seemed to get faster as you continually observed them. That can’t be right; there was nothing powering the box. Yet it was. The gears kept accelerating until they vanished completely and the box was left empty. Confused, you placed your hand inside. This was the turning point.
Sucked into a cloud of debris, your senses blurred, losing contact with the physical realm. The sensation of disconnect lasted for five or so minutes. Covered in dust, you tumbled to the foot of an elderly woman dressed in robes draped in sweeping folds. Are you beginning to remember now?
I am the woman you met. I welcome you to the sixth century BC Achaemenid Empire. You are one of the first to make it here successfully. I know you may be scared; the Greeks painted our history to be uncivilized compared to their own. Under Cyrus the Great however, our reign has promoted religious tolerance and human rights regardless of nationality. We also contributed to innovations in commerce and trading networks, as well as funding for public works to improve the lives of our people. But that’s all textbook information I doubt you care for. Your purpose here is to travel and explore, that’s it. You’ll be home before you realize, so make the most of your stay.
Our empire is in the lands you now call Egypt, Eastern Europe, and east of Asia to the Balkans. It will go on to be considered one of the largest empires of the ancient world. Even as a resident, I can’t help but marvel at the sheer magnificence of what we have. While you’re visiting, I recommend you see Persepolis, the ceremonial capital of our empire. Thank goodness you are arriving in the springtime. Due to the remoteness of the region, travel is often difficult here during the rainy Persian winters. The mountainous terrain, however, allows the city to remain a secret from the outside world, protecting our art, artifacts, archives, and royal treasury.
Here you’ll also find residential quarters, a treasury, and ceremonial palaces. One palace you can’t miss is the Apādana Receiving Hall. Built by Darius I, the roof of the structure is supported by 72 columns each standing at 24 meters, with the whole palace having the footprint of 1,000 square meters. The column capitals are either twin headed bulls, eagles, or lions to represent authority and kingship. The monumental stairways on the North and East sides depict 23 subject nations bearing gifts to the King. If you tell the King I sent you, he will take you as a guest. Don’t forget to bring some form of tribute though. A cypress tree will do.
One final thing – you will need money and proper clothing. I will give you some gold coins known as daric. Use these at the market and buy yourself some long robes. As the palace welcomes you, you shall be greeted with lavish feasts, drinks, and games. Do wander into the sensuous gardens and hunt if you so please. Alright, now I believe my job here is done. I recommend you embrace the chaos and uncertainty this land will reveal. I’ll send you the box once when you’re ready to go. I wish you the best on your journey.
– Smriti Tiwari (she/her), 16, Second-Year Teen Arts Group Leader
SAM’s Gardner Center for Asian Art and Ideas presents the 2023–24 season of the Saturday University Lecture Series, exploring various topics on Asian art and culture across time. On Saturday, February 10, Christina Sunardi, Associate Professor in the School of Music at the University of Washington and Chair of the Department of Dance, will explore the spiritual knowledge, or ilmu, that performers imparted on her while conducting fieldwork on gamelan music and dance in Malang, east Java from 2005–2007. In advance of her talk, SAM spoke with Sunardi about what visitors can expect to learn about in her upcoming talk, her travels in Malang, and the raw, emotional power of the performing arts.
SAM: What can the public expect to learn about in your upcoming Saturday University lecture? What initially drew you to this topic?
CHRISTINA SUNARDI: I will present some of my research on ilmu (spiritual knowledge) that performers imparted and encouraged me to obtain while I conducted fieldwork on gamelan music and dance in Malang, east Java from 2005–2007 and subsequent visits. I intend to analyze the importance performers placed on ilmu as substantive, embodiable knowledge, often secret and esoteric, which can be physically transferred from one being to another, or from an object, and which provides the ability to do something remarkable or remarkably well, including performing music, dance, and theater. I will contend that through their ilmu-related beliefs, practices, and verbal discourse, Malang performers were maintaining and producing local systems of knowledge, transmission, and competence. I am also so excited to be partnering with master gamelan musician and puppeteer Ki Midiyanto as he demonstrates how one of the instruments from the gamelan ensemble is played throughout my presentation. We’ll also allow plenty of time for questions from the audience!
SAM: Academic research often involves travel. Is there a travel experience related to your lecture experience that you could share with us?
CS: Although it’s hard to choose just one, one experience that may be of interest is the ceremony that my first dance teacher in Malang facilitated to ensure that my studies of gamelan, dance, and the Javanese language would go smoothly. I now understand this ceremony as him preparing me to receive ilmu. I remember feeling a tingling sensation on the back of my neck during the ceremony. Maybe it was the smell of the burning incense cubes, or that I was moved by my teacher’s wish for me to succeed, or maybe it was both—I haven’t totally sorted all of that out yet.
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?
CS: Ooh! I really love this 19th-century Wayang Topeng Mask. I had the opportunity to study masked dance while in Malang and it is such a beautiful, entrancing form. I love how the individual dancer sort of disappears into the character and how the dancers can make their masks come to life. ilmu can certainly be involved with this, as I will speak about in my presentation!
SAM: Is there anything we didn’t ask that you want to share with the public in advance of your lecture?
CS: Thank you so much for inviting me and thank you so much to those who are interested in attending. It is always such an honor to be able to share my research and to share what I have learned from the artists I was fortunate enough to study with during my fieldwork.
SAM: What’s one book you’d recommend to those interested in learning more about your lecture topic?
“Behind the scenes at SAM’s new Asian art conservation studio”: For the Seattle Times’ Pacific Northwest Magazine, Brendan Kiley takes you into SAM’s Atsuhiko and Ina Goodwin Tateuchi Conservation Center and introduces to you to Tanya Uyeda, the center’s new conservator of East Asian paintings.
“Now that SAM has its own studio and conservator—with plans to hire others, likely with Chinese or Korean expertise—it hopes to treat works not only from its own collection, but collections around the country. From here on out, Uyeda expects to be doing a lot of surgery.”
Here’s a Seattle Times reader “rave” for the Seattle Asian Art Museum’s 2020 remodel. Good news: You’ve now got one more day a week to visit our Art Deco gem; it’s now open Thursdays as well as Friday–Sunday.
“No, I’m not recommending an art show where you’re allowed to touch the art. But I promise that you’ll feel like you’re up close with the paintings local writer Mattilda B. Sycamore describes in her new—and yes, touching—memoir.”
Vansynghel also reported on the departure of E. Michael Whittington as the executive director of the Bellevue Arts Museum. Kate Casprowiak Scher has been named interim executive director.
“Scher—who’d already been volunteering with the museum—has already jumped into the fray, connecting with staff and assuming Whittington’s responsibilities to make the transition as smooth as possible.”
A spicy headline, via Adam Schrader for Artnet: “Albrecht Dürer Painted Himself Into a 16th-Century Altarpiece to Spite a Patron Who Paid Him Poorly, New Research Suggests.”
“It’s essentially him saying, ‘this is not actually about you as a patron, Mr. Heller. This is art and this will endure and will be looked at in 500 years’ time.’”
This spring, Tanya Uyeda joined SAM as the museum’s inaugural Senior East Asian Paintings Conservator. A leader in conservation practice, education, and research, Tanya assumes responsibility for the care of SAM’s East Asian painting collection, focusing on conservation treatments and sourcing the necessary specialized materials and tools.
Her appointment also marked the start of regular activity in the landmark Atsuhiko and Ina Goodwin Tateuchi Conservation Center, which opened as part of the renovated and expanded Seattle Asian Art Museum in February 2020. The center is one of only a handful of museum studios nationwide dedicated to the comprehensive treatment of East Asian paintings, and the only studio of this type in the western US.
Tanya comes to SAM with over 28 years of experience in art conservation, including over 20 years as a conservator of Japanese paintings at the Museum of Fine Arts, Boston. Born in Eugene, Oregon, Tanya received a Bachelor of Arts in East Asian Studies: Japanese Language and History from Oberlin College and earned a Master’s Degree in Preservation of Cultural Properties from Tokyo University of the Arts. She also trained at an elite painting conservation studio in Tokyo. She is one of only four American conservators of a similar background working in a US institution, as there are no conservation training programs for East Asian paintings outside of Asia.
Just a few months into her tenure at SAM, Marketing Content Creator Lily Hansen spoke with Tanya about her short- and long-term goals, what members can expect in her upcoming Up Close With Conservators talk this fall, how she’s adjusting to Seattle, and more.
LILY HANSEN: Welcome to SAM! After spending more than 20 years in Boston, how are you adjusting to Seattle?
TANYA UYEDA: It seems I arrived in Seattle at the best time of year—I’ve really been enjoying this spectacular summer weather! I’ve settled into a home in the Ballard neighborhood and have been getting it ready in anticipation of my family relocating from Boston later this fall. It’s been so nice to explore the Ballard Farmers Market every Sunday and recently took a weekend jaunt over to Bainbridge Island. I also have extended family in the area, and it has been lovely to be able to reconnect with many of them.
LH: How does it feel to be named SAM’s inaugural Senior East Asian Paintings Conservator?
TU: I feel very honored to be chosen for this important new position. Before arriving at SAM, I worked at the Museum of Fine Arts, Boston, which houses one of the most important and comprehensive collections of Japanese art in the US. Most of my work on the Japanese painting collection supported large-scale touring exhibitions that were shown primarily in Japan.
I am looking forward to continuing this work at the Seattle Asian Art Museum and contributing to the preservation of, and scholarship on, the museum’s East Asian painting collection. I can’t wait to share my insights with members and visitors alike, and to support the care and appreciation of these important artworks throughout the entire Western Pacific region.
LH: What are a few of the goals you set for yourself in taking on this position?
TU: Since assuming my role, my immediate focus has been setting up the Tateuchi Conservation Center as a fully functioning conservation studio. The renovation of the Seattle Asian Art Museum included the creation of this beautiful new workspace, necessary infrastructure such as work tables, sinks, light tables, and fume hoods. The tatami mat flooring and low work tables are what you would see in a traditional Japanese scroll mounting studio, and is what I am accustomed to from my training.
In addition to the basic conservation equipment, East Asian paintings require highly specialized (and expensive!) materials and tools, such as handmade paper, woven textiles, decorative fittings, and various types of brushes, adhesives, pigments, and dyestuffs. Many of these necessary items are imported directly from Japan and China, and are becoming increasingly difficult to source due to the aging out of the artisans that produce them and a lack of younger craftsmen to replace them.
For example, there is a type of paper called “misu-gami” that is produced in the Yoshino region of Japan and provides the flexible inner structure of Japanese hanging scrolls. However, there is now only one papermaker producing it. I will be relying on the generous cooperation of conservation colleagues in Japan and the US, as well as suppliers and craftspeople, to support me as I work to outfit the Tateuchi Conservation Center and carry out the treatments we intend to complete.
LH: The Emerging Arts Leader Internship Program is an integral part of SAM’s mission to connect art to life. This summer, you welcomed Alexa Machnik as your first Emerging Arts Leader Intern in Conservation. What has it been like working with Alexa? Do you intend to take on more interns in the future?
TU: I was very fortunate to meet Alexa and convince her to spend the summer with me in Seattle before she begins a fellowship with the Los Angeles County Museum of Art this fall. As a Mellon Foundation Fellow at the Institute of Fine Arts, New York University and a fourth-year student in the university’s MA/MS program in art history and conservation, she also has extensive working experience at institutions such as the Yale University library and Metropolitan Museum in New York.
The primary focus of Alexa’s internship has been to work alongside me in building eight new karibari, or drying boards, for the studio. These boards are an essential component of every East Asian painting conservation and mounting studio. They consist of a wooden lattice undercore and feature up to 11 layers of handmade paper pasted in specific configurations on either side to provide a sturdy and breathable, yet lightweight surface for stretch drying and flattening artworks during treatment. It is a time consuming and physically demanding task, and I am grateful to have Alexa’s assistance! Building the boards is also excellent training in the use of brushes and knives, different thicknesses of paste, and the preparation of various types of handmade paper. She is also helping me process an important series of artworks gifted to SAM at the bequest of longtime benefactor, the late Frank Bayley III, as well as designing new display apparatus for upcoming gallery rotations at the museum.
My hope is that the Tateuchi Conservation Center will serve as a training resource for future conservators of Asian art, as coursework in East Asian painting conservation is not an area of study offered in North American or European graduate conservation programs. Training in this field is still largely apprenticeship-based, taking place in private studios across Japan, China, Taiwan, and Korea. As a result of their unusual formats, Asian paintings require dexterity, specialized tools, refined aesthetic sensibilities, and linguistic, cultural, and historical knowledge. In the US, the field tends to attract students with a background or interest in paper conservation. These include so-called pre-program students (those seeking admittance to North American conservation programs) or recent graduates from these same programs. Occasionally, students with academic or practical training from Asia are considered as well.
LH: This fall, SAM will launch Up Close with Conservators, a members-only lecture series offering an in-depth look at the conservation work taking place at the museum. For the inaugural lecture, you’ll be in conversation with SAM’s Jane Lang Davis Chief Conservator Nick Dorman. What can SAM members expect to hear in your discussion with Nick?
TU: Up Close with Conservators is an exciting opportunity to highlight the individuals who make up SAM’s conservation team and to share the details of our work with the public. We chose to title the series “Up Close” because much of our work begins with a close examination of the objects. We look forward to educating members on the works of art in our care, sharing our discoveries, explaining how we assist the museum’s curators in interpreting the artistic intent of each artwork’s creator, and articulating how best to handle, store, and preserve art for future generations.
In our lecture, Nick and I will discuss the museum’s long journey to establish the Tateuchi Conservation Center at the Seattle Asian Art Museum, and what the role of this new resource will be for the understanding and preservation of the important East Asian collections in the West Coast region. I will also be giving a brief overview of the kind of work that will take place in the studio, and what conservation of East Asian paintings looks like. It will be my first opportunity to speak to SAM’s members and is sure to be a engaging conversation.
