The lens can be used all kinds of ways… Not just affirm or confirm the thing in front of the camera, but for my purposes, to actually reshape it in a subjective way.
– Dawoud Bey
How can photography be used to amplify Black voices in America? To commemorate the opening of Dawoud Bey & Carrie Mae Weems: In Dialogue at SAM, we sat down with renowned American photographer Dawoud Bey to ask this question, talk about his friendship with Carrie Mae Weems, and discuss the significance of showing their photographs in conversation. Watch the video now to hear Bey reflect on what it means to break artistic hierarchies, bring history into our modern era, and tell the complex and powerful stories of Black Americans through a single frame. Don’t miss your chance to experience this limited-run exhibition at SAM before it closes on January 22—get your tickets before it’s too late!
As we continue to reflect on the ways that living in quarantine impacts our daily rhythms, Pam McClusky, Curator of African and Oceanic Art, is here to share artwork propelled by walking. Walking becomes one of our rhythms that adjusts to each landscape we cross. Translating that rhythm into paint became a goal for Dorothy Napangardi who walked hundreds of miles across her homeland. She spoke of the unconditional happiness and freedom she felt when she traversed her family’s country and slept beside them with stars as a canopy.
With fewer cars on the roads and the rare airplane in the sky, more of us are walking as a way of getting outside. Often, we are walking without destination, but rather, just to walk. How have you become aware of your surroundings differently on your daily walks? Let the artwork of Dorothy Napangardi, on view in Walkabout at SAM, inspire you to put on your mask and take a stroll through your neighborhood, giving plenty of space to the other pedestrians around you. Maybe your path will follow the one suggested by Pam at the end of the video, and lead you to the Olympic Sculpture Park.
Walkabout: The Art of Dorothy Napangardi at Seattle Art Museum is filled with Napangardi’s paintings from 2000–13 and takes us to the shimmering salt lake, where she absorbed indigenous laws and stories from the land and her family. Visit these large-scale and intricate paintings in person once SAM is able to reopen.
We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blog and also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!
“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.
SAM’s locations may be temporarily closed, but our curators are still here to connect you to art! Here’s Dr. Theresa Papanikolas, SAM’s Ann M. Barwick Curator of American Art, to give you an overview of Georgia O’Keeffe: Abstract Variations. This installation featuring 17 works by this American master opened just one week before we had to make the difficult decision to close for the safety of our community. Tune in for a lecture developed just for you and learn more about the works on view at SAM. We can still appreciate these artworks and the artist who made them, even if can’t visit them at the moment.
Georgia O’Keeffe: Abstract Variations features 17 works from the 1910s to the 1930s. At the heart of the installation is Music, Pink and Blue, No. 1, a recent addition to SAM’s collection and a gift of late Trustee Barney A. Ebsworth. The first complete expression of O’Keeffe’s personal brand of modernism, Abstract Variations brings Music, Pink and Blue, No. 1 together with Music, Pink and Blue, No. 2, from the collection of the Whitney Museum of American Art, for the first time in Seattle, along with loans from museums across the country.
Now that the Asian Art Museum has expanded, we can fit this monumental sculpture by Do Ho Suh inside the galleries! Some/One is part of Be/longing: Contemporary Asian Art and while the Asian Art Museum is temporarily closed we are taking you behind the scenes of installing this impressive and important artwork.
Some/One, 2001, represents artist Do Ho Suh’s interest in individual and collective identity. A minimalist sculpture, Do Ho Suh explores how art transforms public and private spaces through a painstaking amount of intricate detail that is not always apparent at first sight but is an integral part of the artwork. Some/One, as the title of the work indicates, juxtaposes the collective—represented by a larger-than-life armor sculpture—and the individual, consisting of life-size shiny-metal dog tags, each unique and representing a single soldier. This allegory is carried forward by contrasting the hard, insensitive character of armor with the delicate aspect of the dog tags, which are made up of thin sheets of metal and embody the poetic symbolism of fallen warriors.
While the Asian Art Museum was closed for renovation and expansion we reimagined the presentation of art to include community perspectives on art works. Below is a reflection on Some/One from artist HollyAnna CougarTracks DeCoteau Littlebull. You might remember her large-scale artwork on view at Arts at King Street Station as part of yəhaw̓. Check out some photos of Bigfoot, the artwork referenced in her statement.
The one thing that people of all races have in common is we have our protectors. My Crow family recognizes me as a warrior, because I used to be a police officer and got shot in the line of duty, and survived. We use either elk hide or buffalo to dress our warriors, which takes on a similar shape, and sometimes paint the rawhide side with the story of that veteran. It’s a way of them owning their story and being able to wear it with pride, but it also has the sad side to it too: the death, the destruction, the pain. With my contemporary artwork, Bigfoot, there are plastic toy natives next to the head, there’s one with the war bonnet on, and he’s representing the warriors in my family. It’s about dealing with the past, with assimilation, with boarding schools, with genocide. Bigfoot talks about the foundation and accepting your past even if it’s ugly. That’s what this artwork does here too. War is not pretty.
– HollyAnna CougarTracks DeCoteau Littlebull, artist
We also include community voices on the free smartphone tour featuring artworks from SAM’s Asian art collection. Listen to musician Deems Tsutakawa discuss this artwork and how he relates to it in his own life.
We worked to represent a variety of voices in presenting Do Ho Suh’s Some/One because the sculpture is about both the individual and collective identities. One of these voices belongs to the artist. In an interview with Art21, artist Do Ho Suh talks about the dream that inspired Some/One.
“I saw this light in the stadium, and so I thought there’s some kind of activity going on. And as I approached the stadium… I walked slowly and went into the stadium on the ground level, and then I see this reflecting surface in the dream. And I realized I was stepping on these metal pieces that were the military dog tags. And it was slightly vibrating; the dog tags were touching each other, and the sound was from that. And from afar, I saw the central figure in the center of the stadium. I slowly proceeded to the center, and then I realized it was all one piece that gradually rose up and formed this one figure…. So, that was the dream and the image that I got. After that, I made a small drawing. The small drawing was about this vast field of military dog tags on the ground and then a small figure in the center…. That was the impact that I wanted to somehow convey through that piece.”
– Do Ho Suh, artist
We are humbled by the generosity of our donors during this unique time. Your financial support powers SAM Blogand also sustains us until we can come together as a community and enjoy art in the galleries again. Thanks to a generous group of SAM trustees, all membership and gifts to SAM Fund will be matched up to $500,000 through June 30!
“What do you create or do in life that brings you
happiness? The question we asked locals — just before Washington state’s
stay-at-home order — takes on new meaning now that individuals and communities
are coping with the coronavirus crisis.”
Last week, Congress
passed a $2 trillion aid package in response to the coronavirus. Cultural
organizations had requested $4 billion; Artnet’s Eileen Kinsella reports on how “they
got, well, less.”
“A fridge full of seafood, a cabinet full of beans, and
regular trips to the coffee shop while we still can. Prepping for the worst,
but can’t leave this city! So far, pizza is still delivering, so totally OK.”
Stay home with SAM and see inside Georgia O’Keeffe: Abstract Variations, zoom in on some early O’Keeffe drawings using our online interactive, and make some art of your own following along with the activity below.
“I found that I could say things with color and shapes that I couldn’t say any other way—things that I had no words for.”
– Georgia O’Keeffe
These words from a 20th-century artist best known for her paintings of flowers and desert landscapes may be surprising. “She had a very particular iconography, so we don’t typically think of her as an abstractionist,” says Theresa Papanikolas, SAM’s Ann M. Barwick Curator of American Art. Abstract Variations offers us a chance to broaden our perspective on this celebrated artist through a focused selection of 15 of her paintings and drawings, as well as portraits of her by Alfred Stieglitz, the photographer who eventually became her husband. The accompanying catalogue examines O’Keeffe’s pioneering innovations into abstraction.
You may be familiar with Music, Pink and Blue, No. 1, O’Keeffe’s first major oil painting, now in SAM’s collection. Abstract Variations also includes Music, Pink and Blue, No. 2, a loan from the Whitney Museum of American Art, bringing these two landmark paintings together in Seattle for the first time. Experiencing them alongside other works from this pivotal period in O’Keeffe’s career offers a glimpse into her practice. “There’s a tangible tension between geometry and curvilinearity in these early works,” says Papanikolas. “When you see them in person, they look as if they’re vibrating.”
Zoom in on Georgia O’Keeffe’s Drawings »
Take a good look at all the details in these charcoal drawings from the collection of the National Gallery of Art in Washington, D.C. Like many of us right now, these precious drawings have to stay home. O’Keeffe’s earliest works on paper are extremely fragile and therefore unable to travel, but we can still enjoy them—just click or tap on the image above!
Art Making Activity
The painting above by Georgia O’Keefe is called Music, Pink and Blue, No. 1. Like many paintings the artist made, its shapes and colors are inspired by music. Can you make a drawing of a song?
Choose a song that makes you feel happy, sad, calm, or excited. Close your eyes and think about what you hear: What lines, shapes, and images appear? What colors do you see? What more can you imagine?
Find a pencil and a piece of paper and listen to the song a second time. This time, take a deep breath and let your hand move around the paper to draw lines and shapes that connect to the music. You can draw fast or slow, whatever feels natural to you. Try not to think too much, just draw and capture the images from your imagination.
When the song is finished, you can add to or change the drawing that you have started. You might choose to press your pencil down to shade some areas darker and leave some areas light. You might choose to erase some sections and add additional shapes and lines. You might use other materials to add color or texture to your drawing.
When you have finished, display your drawing on the floor, a table, or pinned onto the wall or refrigerator. See what it looks like up close and far away. Ask people around you what looking at your drawing makes them think about or feel. Does it bring any music to their mind?
These process images are an example of Lauren Kent, SAM’s Museum Educator for School Programs & Partnerships, drawing to “Wuthering Heights” by Kate Bush at her kitchen table. We want to see your artwork! Share a photo of your drawing and the song that inspired you with us via email or on social media using #StayHomewithSAM!
“The real magic of Carpe Fin is in the space between the object and the observer.”
– Michael Nicoll Yahgulanaas
Hear from the artist behind the 6 x 19–foot watercolor mural commissioned for SAM. Haida artist Michael Nicoll Yahgulanaas describes Carpe Fin as “Haida manga.” This unique approach developed by Yahgulanaas blends several artistic and cultural traditions, including Haida formline art, Japanese manga, Pop Art, and graphic novels.
Inspired by a traditional Haida oral story, the story is also linked to a 19th-century headdress in SAM’s collection carved by Yahgulanaas’s relative, Albert Edward Edenshaw. Carpe Fin calls attention to issues of environmental degradation and the rupture of the values that honor human-nature interdependence.
We asked SAM staff to reflect on the work and what stood out to them by answering which panel impacted them most. Have you seen the artwork at SAM or read the book? Read some reflections below and share your thoughts with us in the comments!
The very center panel—it’s more free form so it draws the eye. It’s the moment when Carpe realizes he’s been left behind on the island. His phases of expression and gesture really struck me.
The central panels—frames break down, creative topsy-turvy!
The third panel (upper center) for the transition from the human to the underwater world. The contrast of thick, thin, and detailed brushwork make it come alive.
The middle panels stand out because of the dynamic between the sea lions and humans. There’s a chaotic structure that reminds me of the circle of life, but it also shows an imbalance.
The central panel and how it just seems to come alive and break out of the typical comic book boxes/outlines; the overall image captivates your attention and makes you want to keep looking at the intricate, smaller details.
I was most impacted by the panel in which Carpe swims back wearing sewed-up seal skin. There is something about embodying the animal that he had been killing. I wonder how much the message of “you’re killing our women” would have sunk in without this physical experience or if he would have heard it in a different way?
I’m most impacted by the panel where the young boys kill a flicker. This senseless, purposeless killing of a living thing in a microcosm of the imbalance and lack of respect for the environment that has created dire circumstances for this community and communities across the globe. The energy that youth are bringing to climate activism lies in contrast to this detail and gives hope for the future. We all need to take responsibility and enact laws and regulations that will ensure the survival of future generations.
Following a series of progressive steps taken in recent weeks, SAM
announced last Thursday that it has
temporarily closed through the end of March, to help limit the spread of COVID-19 and
protect the community.
While the museum is closed, we hope you’ll enjoy Gayle Clemans’ lovely review of John Akomfrah: Future History, which notes that
even with the closure, “the artist and his work, nonetheless, is well worth
“For Akomfrah, that
cinematic approach is like philosophy, a way of comprehending the world. ‘As
opposites have conversations, or as they are persuaded to at least potentially
sit at the table in preparation for conversation, something miraculous
happens,’ he says. ‘Life itself happens.’”
– Rachel Eggers, SAM Associate Director of Public Relations
Image: Alfred Stieglitz, American, 1864–1946, Georgia O’Keeffe (in a chemise), 1918, gelatin silver print, 9 1/2 x 7 1/2 in., Georgia O’Keeffe Museum, Santa Fe, New Mexico, Gift of the Georgia O’Keeffe Foundation, 2006.6.1432, photo: Georgia O’Keeffe Museum, Santa Fe / Art Resource, NY
“A Place for Meaningful Cultural Conversations” declared the headline
for art critic Lee Lawrence’s thoughtful
review of the reimagined Asian Art Museum,
which appeared in the February 25 print edition of the Wall Street Journal.
bululs, or rice deities, from the Philippines once watched over terraced
paddies, and they’re among the museum’s most modest yet most powerful works.
Given the nature and small size of its Philippine holdings, the Seattle Asian
Art Museum probably would have kept them in storage had it opted for a
traditional installation. But in another benefit of thematic groupings,
they—and other long-warehoused treasures in the museum’s collection—now have a
role, enriching the new installation not just with their stories but with their
Susie J. Lee is making a short video about what makes a museum “interesting and
cool.” The Seattle Times’ Alan Berner captured
photos of the recent shoot at the Asian Art Museum.
“As a trained
anthropologist, Hurston traveled down the East Coast and sat on stoops and
corners, the storytelling stages and communal gathering spaces of Black
communities, where, with academic rigor and a loving gaze, she listened,
studied and collected the stories Black folk tell.”
Holland Cotter of the
New York Times on
MoMA’s Donald Judd survey that opens on Sunday, noting that his work
“can now be seen to offer pleasures, visual and conceptual, that any audience
with open eyes, can relate to.”
“It is not often a
new category of art historical research is proposed as a solution to these
persistent problems, but The
Allure of Matter: Material Art from China makes a compelling case for the
usefulness of a new analytical structure around Chinese art.”
Virginia “Jinny” Wright, a pillar of the SAM family, passed away last week at the age of 91. The Seattle Times obituary of the collector and philanthropist noted that she “lived for art—and dedicated herself to sharing it with others.” KUOW and ARTnews also shared remembrances of her legacy. She will be greatly missed.
KEXP’s Hans Anderson interviewed SAM curators Foong Ping and Xiaojin Wu about the reimagined Seattle Asian Art Museum for their Sound & Vision show; head to their archive for Saturday, February 15 for the story, which started at 7:49 am.
“So the piece, like
Parker’s music, is full of extremes, pushing the voice’s boundaries,” [tenor
Joshua] Stewart says. “When you have a piece this difficult, you have to bring
to it everything you have to offer. You have to go on the full journey.”
“This is coming at
a time when museums and other cultural institutions are really trying to make a
case for their existence,” says the OMCA’s associate director of evaluation and
visitor insight, Johanna Jones, who led the project. “We know we make a
difference in people’s lives, now we need to really demonstrate it through
Seattle Asian Art Museum is officially reopen! Thank you to the thousands
of people who streamed through the reimagined galleries at the free
housewarming event last weekend. The museum starts regular hours on Wednesday,
“I felt freed, well, just to look”: Stefan Milne examines Boundless at the Asian Art Museum and The American War at ARTS at King Street Station, which both “explore how we see Asia.”
Seattle Refined shot a recent episode from the museum, including a fantastic segment
with SAM curators Foong Ping and Xiaojin Wu (starts at :40).
“Your eyes and mind
enter them easily and roam through the different layers of brushwork and narrative
suggestion. There’s an unexpected optimism to all this. The paintings also
dwell in silence, slow us down and hypnotize.”
The Seattle Asian
Art Museum reopens to the public this weekend with a free two-day celebration.
10,000 free tickets for the housewarming event have been claimed, but the
museum reopens with regular hours on Wednesday, February 12.
questions we’re asking for this reopening are, ‘Where is Asia? What is Asia?’”
says Xiaojin Wu, the curator of Japanese and Korean art at the museum. “We’re
showing how the borders are fluid throughout history.” –From The Art Newspaper
“When the Asian Art
Museum opens on Saturday, the architects hope that previous visitors will see
their museum in a new light. Says Amada Cruz, CEO and director of the Seattle
Art Museum, ‘We could not be more excited to open the doors of the museum and
welcome everyone back.’” –Elizabeth Fazzare, Architectural Digest
“With so much to
see and contemplate in the Seattle Asian Art Museum, there needed to be space
to let the mind wander into a void for a bit. The experience would not be
complete without it. The curators and architects all should be commended for
seeing through a new vision that will expand audience’s awareness of Asia, but
also remind them that the human pursuit of beauty and the sublime is, indeed,
timeless and boundless.” –T.s. Flock, Vanguard
“With works that
emphasized the immaterial, or the breakdown of matter, the exhibition begged
the question: how applicable is the term Material Art? It seems that at this
early stage, the label may conjure more questions than answers.”
“The concept of
their endeavor . . . is simple: Put together one show a year with a kickass
lineup, pay the performers royally, preach the gospel that working artists
deserve a fair wage, have a damn good time and repeat.”
“After a long pause
a nine-year-old said: ‘Objects have rights.’ The phrase has stuck. It captures
both the need to conserve objects and to consider them as active participants
in the museum experience.”
The Japanese art gallery at SAM’s downtown location was recently reinstalled with a focus on the Mingei movement in Exceptionally Ordinary: Mingei 1920–2020, on view through Novemeber 8, 2020. Initiated in the 1920s by the Japanese collector and connoisseur Yanagi Soetsu (1889–1961), Mingei elevated functional, everyday crafts to art objects. Since its foundation, Mingei’s broad applications range from mid-century decorative arts to contemporary designs, ceramics, textiles, sculptures, and prints, examples of which are hanging in our gallery. Prominently featured, are works by the late Seattle-based artist George Tsutakawa on loan from the George Tsutakwa Art Legacy. The Tsutakawa family share below about George’s inspiration and how his furniture fits in the installation at SAM!
George Tsutakawa began to build bronze fountain sculptures in 1961 with the installation of his first fountain at the Seattle Public Library. He eventually created 75 fountain sculptures in the United States, Canada, and Japan. The fountains reflect his intense interest in the cyclical flow of water from the heavens to earth, creating rivers and oceans that nourish life. His basis of humanity in the Shinto religion indicated reverence for life in all forms made by nature, such as trees and rocks.
Tsutakawa’s professional art career spanned 60 years. He was a professor of art at the University of Washington for 37 years. In his personal statement from The Pacific Northwest Artists and Japan in 1982, he expressed that sometime in the 1960s his travels and studies of traditional Japanese arts allowed him to reaffirm his “conviction in the Oriental view of nature school which sees Man as one part of nature, a part that must live in harmony with the rest of nature.”
Thus Tsutakawa’s furniture from the 1940s and 1950s reveals this conviction to nature within his art and serves as the starting point for his later artistic forms. Although he was a modernist, even in his furniture forms, his work relates to the Japanese Mingei movement, which is largely based on traditional and folk art.
Tsutakawa’s early furniture is functional and evokes a connection to nature through fluid organic shapes and materials.
The Tsutakawa family is currently reorganizing the artist’s collection with the hope of preserving his work and making it more open to the public as well. You can visit SAM to see Tsutakawa’s artwork in Exceptionally Ordinary: Mingei 1920–2020, on view through November 8, 2020.
– Mayumi Tsutakawa & Chyenne Andrews
Images: Installation view Exceptionally Ordinary: Mingei 1920–2020, Seattle Art Museum 2019, photos: Nina Dubinsky. Kizamu Tsutakawa
The Seattle Asian Art Museum reopens February 8 and we want to be
sure you know all the free and discounted ways that you can visit the
reimagined and reinstalled museum!
Even though the Housewarming:
Free Reopening Weekend is sold out and we are not accepting walkups on
February 8 or 9, there are many other opportunities to visit for free. Today’s
Seattle Asian Art Museum breaks
boundaries to offer a thematic, rather than geographic or chronological,
exploration of art from the
world’s largest continent. The restoration of the historic Art Deco building,
improvements to critical systems, expanded gallery and education spaces, and a
new park lobby that connects the museum to the surrounding Volunteer Park are
just some of the ways the Asian Art Museum has been transformed and preserved
as a cultural and community resource for future generations.
An important part of the work that took place while the Asian Art
museum was closed for renovation and expansion isn’t something you will notice
about the architecture or art. The City of Seattle financially supported the
preservation and improvements of SAM’s city-owned Art Deco home and in return,
we made a commitment to offer more free ways for members of the community to visit
the Asian Art Museum!
Many programs such as lectures, performances, and tours at the museum are free and include free entry to the galleries. Check out our Free First Saturdays series for kids!
SAM provides discounted rates for students, teens, seniors, and military with ID.
Seniors (65+) and military can visit for $12.99
Students and teens age 15–18 can get tickets for $9.99
Children (14 & under) are always free.
SAM members are free. Join today and RSVP to see the museum before it opens to the public during the Members Open House on February 5 and 6.
First Saturdays and the Second Thursdays of every month are free to all.
The First Friday of every month the Asian Art Museum is free for seniors.
Bring a group of 10 or more and get discounted tickets. Find out more about group visits!
Educators can visit for free anytime with ID. Mark your calendars for a special Educator Open House at the Asian Art Museum on February 27!
Did you know that we now offer free school tours for all public schools at all SAM locations? We also offer bus subsidies for title 1 schools. School tours at the Asian Art Museum start march 1—find out more!
In case you missed it:
The Seattle Times’ December 21 print edition featured photojournalist Alan
Berner’s behind-the-scenes look at the Do Ho Suh
installation in progress with Liz Brown
David Carrier for
Hyperallergic on the
“endlessly inventive” Jörg Immendorff, whose solo show is now on
view in Madrid; his Café Deutschland 38. Parteitag, just added to SAM’s
collection in honor of Kim Rorschach, is now on view.
compelling aspect of the show is its focus on faces. Radiant faces loom out
from images on the walls. At a time when immigrants are being described as
dangerous, faceless people, these faces ask visitors to pause and look.”
The New York Times’
Will Heinrich reviews the Brooklyn Museum’s reinstallation of its Chinese and
Japanese collections, calling it “5,000 Years of Asian Art in 1 Single,
American museum’s Asian wing is no mean feat. How to convey the very real
throughlines that make terms as broad as ‘Chinese art’ and ‘Japanese art’
meaningful, while also doing justice to the staggering variety of these
ancient, and hugely populous, cultures?”
One of the few successful female painters of her time, Gentileschi’s famous painting is hanging at SAM in Flesh and Blood, an exhibition of Renaissance and Baroque paintings. Judith and Holofernes provides one of the characters from the play, Blood Water Paint, recently restaged at Seattle’s 12th Ave Arts Studio by Macha Theatre Works. Playwright Joy McCullough‘s YA novel adaptation of Blood Water Paint won the 2019 Washington State Book Award and we couldn’t pass up the chance to bring these actors into the galleries to recreate a scene for you!
See this important artwork at SAM during Flesh and Blood, on view January 26. This exhibition offers a rare opportunity to experience the fierce beauty of art from the 16th and 17th centuries. Renowned Renaissance artists such as Titian and Raphael join Baroque masters including Artemisia Gentileschi, Jusepe de Ribera, Guido Reni, and Bernardo Cavallino to reveal the aspirations and limitations of the human body and the many ways it can express love and devotion, physical labor, and tragic suffering.
Based on true events, Blood Water Paint unfolds lyrically through interactions with the women featured in Artemisia’s most famous paintings and culminates in her fierce battle to rise above the most devastating event in her life and fight for justice despite horrific consequences.
Macha Theatre Works is a fearless female non-profit arts organization showcasing exceptional artists, delivering innovative education programs, and staging new theatrical works that feature strong female characters.
The Seattle Review of
Books is asking local luminaries, “if you could give everyone in Seattle one
book as a gift this holiday season, what book would you choose and why?” Here
are selections from Amada Cruz, SAM’s Illsley Ball Nordstrom
Director and CEO.
people like Pratt or Mississippi activist Medgar Evers by erecting a bronze statue
or naming a park after them is also meaningful and important, there’s something
about the domesticity and “everyday-ness” of a face on a stamp that’s
just as appealing. It carries emotional power.”
The paintings in Flesh and Blood: Italian Masterpieces from the Capodimonte Museum span the High Renaissance and the Baroque eras, so it’s only fitting that the Early Music Youth Academy from Seattle Historical Arts for Kids would play these two pieces by Salamone Rossi in SAM’s galleries while this exhibition is hanging through January 26.
Rossi’s music displays the transition from late Renaissance compositions to more Baroque-style arrangements. This selection, “Gagliarda detta la Norsina” and “Passeggio d’un Balletto” was published in 1607. Behind the talented youths performing this music, glimpse Artemisia Gentileschi’s Judith and Holofernes, painted sometime between 1612 and 1617. You can also spot Ribera’s Saint Jerome, 1626, and The Virgin of the Souls with Saints Clare and Francis, 1622–23, by Battistello Caracciolo. Don’t miss seeing these paintings that have never before been exhibited in Seattle—Get tickets to visit SAM today!
“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.’
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.”
“I believe great art helps us see the world around us a little differently and can often provide a sense of purpose and fresh perspectives.”
– Paul G. Allen
Right now SAM has a Botticelli hanging in its galleries! The Madonna of the Magnificat by Sandro Botticelli is part of a series of paintings on loan from the Paul G Allen Family Collection that is rotating. Botticelli’s Madonna expands on our current exhibition Flesh and Blood: Italian Masterworks from the Capodimonte Museum.
The first painting in the series was Large Interior W11 (after Watteau) by Lucien Freud. This intimate, insightful group portrait exemplifies the 20th-century British painter’s distinctive style—one that invites us to “see the world around us a little differently.” The future featured work is White Rose with Larkspur No. 1 by Georgia O’Keeffe, which will be on view in 2020 in time for Georgia O’Keeffe: Abstract Variations to open at SAM on March 5.
Image: The Madonna of the Magnificat, ca. 1483–87, Sandro Botticelli, Italian, 1444/45–1510, tempera on wood panel, 24 3/4 in., Allen Family Collection.
We partnered with our friends at Seattle Opera to bring you a double dose of all things Baroque. Here is “Vidit suum dulcem natum” from the Stabat Mater by Giovanni Battista Pergolesi performed in front of Guido Reni’s painting, “Atalanta and Hippomenes,” on view at SAM right now as part of “Flesh and Blood: Italian Masterpieces from the Capodimonte Museum.”
Giovanni Battista Pergolesi studied in Naples and premiered all but one of his operas there. This piece, Stabat Mater, was composed in 1736. An example of Guido Reni’s more Baroque approach to painting that developed during his time Naples, “Atalanta and Hippomenes” was completed between 1620–25 and is visiting Seattle Art Museum from Naples. Enjoy this video of these Baroque works of art together before you visit SAM to see this and other important Italian paintings in person. Let this opera set your mood!
“Flesh and Blood” offers a rare opportunity to experience the fierce beauty of art from the 16th and 17th centuries. Renowned Renaissance artists such as Titian and Raphael join Baroque masters including Artemisia Gentileschi, Jusepe de Ribera, Guido Reni, and Bernardo Cavallino to reveal the aspirations and limitations of the human body and the many ways it can express love and devotion, physical labor, and tragic suffering. You have until January 26, 2020, to see this exhibition.
“Within the piece,
I was more mindful of my steps because of the way the mesh was ever so slippery
beneath my boot. I became aware of a slight unease at being so close to a
skylight I’d admired from the concrete floor below.”
Paul Laster writes about Do Ho Suh’s work for White Hot magazine, including past presentations at SAM and his theme of displacement. The artist’s Some/One will be a centerpiece of Be/longing at the Asian Art Museum.
conversation, Gates seems to envision a city-sanctioned and -funded memorial.
‘I want to believe that the city is open to it,” he said. “I believe Samaria
has the right to ask the city to receive this sacred space.’”
If you haven’t heard, Artemisia Gentileschi’s renowned painting Judith and Holofernes is currently hanging at SAM as part of Flesh and Blood: Italian Masterpieces from the Capodimonte Museum. This particular painting by Gentileschi has gotten a lot of attention in recent years as discussions of representation of women in the arts as well as rape culture have become part of mainstream media. A graphic novel, I Know What I Am: The Life and Times of Artemisia Gentileschiby Gina Siciliano was recently published by Seattle-based Fantagraphics. This Pacific Northwest illustrator and author conducted research for seven years to offer a picture of Italy’s cultural climate in the 17th century as well as an unflinching look at Gentileschi’s life whose artistic success and documented rape trial have cast her as a feminist hero in her time, one that we can still learn from today.
After giving a talk on the Contemporary Resonance of Artemisia Gentileschi at the opening of Flesh and Blood with Chiyo Ishikawa, SAM’s Deputy Director for Art and Curator of European Painting and Sculpture, and Estelle Lingo, Professor of Early Modern European Art at University of Washington, we wanted to learn more about her enthralling graphic novel. Done entirely in ballpoint pen, the book is an education in world history that is full of drama, tragedy, and passion. Italian artists in the 1600s don’t seem too hesitant about stabbing each other. Read below for more information on this talented author, feminism, and the figure of Gentileschi. If you’re planning to visit the exhibition to see Gentileschi’s painting, come on Thursday, November 21 and take a tour of the galleries with Gina!
SAM: What drew you
to Artemisia? When did you realize you were making a book-length work?
Gina Siciliano: I knew immediately that I was going to make a
graphic novel about Artemisia, right when I was introduced to her work in art
school, and then when I first saw the Judith painting in the Uffizi back in
2007. When I was ready, I broke the story into three parts and dove in, piecing
her life and times together in chronological order. Initially I wasn’t going to
extend it all the way to the end of her life, but I changed my mind. I decided
to make a full biography because I sensed a lack of older women characters in
movies, novels, comics, media, and our culture in general. It feels like once
women reach a certain age they’re just thrown out of the picture or relegated
to stereotypes, and it became important to rise against that.
What’s one piece of
information that got you really excited when you found it?
There were so
many exciting discoveries throughout this process, it’s very difficult to
choose just one example! When Jesse Locker’s book came out in 2015 that
completely changed the third part, and also when Elizabeth Cohen wrote about
the recently discovered handful of letters written by Artemisia and Pierantonio
to Francesco Maria Maringhi around 1620. They haven’t been entirely translated
into English, but Cohen revealed snippets of Artemisia’s writing in English,
and it was intense and wonderful to get a sense of Artemisia’s voice at that
point in her life. I got chills reading about her breakdown after the death of
her children and during her harrowing journey back to Rome. I rearranged that
whole section of the book after that. I’m also currently very excited about
Sheila Barker’s new scholarship on Artemisia.
But if I had to
pick the most exciting discovery of all it would be the 1647 revolt of
Masaniello! Rosario Villari’s book on the subject was a landmark for me, and
since there’s so little information in English I read his book several times,
taking extensive notes. I was struck by the Neapolitan people’s desperation,
and the way they repeatedly rose up violently against severe oppression and
corruption. I was startled to learn that Artemisia survived a ten-month
revolution, and it had barely been mentioned in my sources at all.
There seem to be
many versions of Artemisia’s life. The details of female life were not much
documented at the time so how did you decide to present the version of her life
that you did?
The goal was to stay as historically accurate as possible and invent as little as possible. I was influenced by Alexandra Lapierre’s approach. She spent five years doing research in various Italian archives, then strung together the holes in the information—the gaps in history—with fiction. Rather than project my own agenda onto Artemisia or use her story as a jumping-off point for my own artistic expression, I wanted to find out as much as I could about Artemisia—how she felt, how she lived, how she interacted with others. I see her as inseparable from Italian history. I wanted to re-create her world, and then put her into it. The goal was to put her life and work into context, not take her out of context. That being said, of course, bits of myself and my own outlook slipped in all over the place. But I included a big notes section, to show the reader that we’ll never know exactly what happened—all we can do is continue to discuss how we come to conclusions, how we piece together history based on a variety of sources, ideas, and perspectives. My version of Artemisia is based on academic research, as well as my personal, emotional connection to her work.
What about the
decorative symbols and icons in the full-frame character illustrations?
Each one of these
full-page portraits is comprised of Renaissance and Baroque symbolism, and also
my own impressions. Each one has its own mood, based on the character’s role in
the story. Some of these people—Caravaggio, Orazio, Artemisia, Galileo, the
Duke of Alcala, Masaniello—we know quite a bit about, so I had a lot to work
with. For example, Masaniello was a fisherman, so there are fish surrounding
him, Galileo has a diagram of the Copernican view of the cosmos above him, etc.
For these people, I used images of them from their own time to re-create how
they looked. But other figures—Loredan, Arcangela Tarabotti, Tuzia Medaglia,
Giovanni Battista Stiattesi, Artemisia’s daughters—are more mysterious. I had
to do more inventing and cobbling together whatever scraps of information I
could, to show what they might’ve looked like.
There isn’t space here to describe all the symbolism, but I’ll give a few examples: Artemisia’s daughters are shown with large, rounded, upright vessels—a common Renaissance symbol for chastity and sexual purity, whereas a spilled, horizontal vessel was a symbol for sex and impurity. The Duke of Alcala is surrounded by fig trees—lush and full of fruit—a Renaissance metaphor for sexuality again, in this case, male virility. Pierantonio stands below two bull skulls, alluding to his being a cuckold (Loredan’s epitaph about Artemisia on page 224 claims that she carved the horns of a cuckold for her husband). The glowing candles foreshadow Pierantonio’s later night-time swordplay. The characters with close ties to the Medici—Francesco Maria Maringhi, Christine of Lorraine, Maria Maddalena of Austria, Galileo—all feature the Medici’s famous logo/crest—a group of small, round, fruit-like balls. Loredan’s portrait is surrounded by water since he serves as an introduction to Venice, and below him is the logo of his famous academy (the Incogniti)—the mysterious Nile River, the source of which was still unknown at the time.
Can we have a
feminist hero and still have context and historical time and place?
My book is meant
to present a loud and enthusiastic YES to this question!
Will you talk a bit
essentially an earlier version of feminism. To me, the best biographies don’t
idolize or sentimentalize the subject, nor do they gloss over the
inconsistencies and contradictions of a person. Rather, they go deep into
history and analyze their subject’s position, and all the potential factors
that made them who they were. I love Paul Avrich’s writing about anarchists for
this reason. I’m also reading Lily Tuck’s wonderful biography of Elsa Morante.
Elsa Morante was an incredibly independent Italian woman, one of the first to
wear pants! At the same time, Tuck mentions how Morante chastised another woman
for having hairy armpits and sometimes scorned the feminist movement. I tried
to be open to these types of contradictions when writing about Artemisia too.
There’s reason to believe that Artemisia was a militant Catholic who didn’t
always treat her servants very well. But she also wrote about the disadvantages
she faced as a woman, she refused to let Agostino Tassi (the man who raped her)
off the hook during the trial, and we know that she worked within the same
circle as the Venetian Libertines who talked a lot about the roles of women
(the querelle des femmes). We can judge Artemisia by the standards of her own
time, and we can judge her according to the standards of our time. I think
there’s room for both.
Proto-feminism didn’t look like our modern first-, second-, or third-wave feminism. There wasn’t a political movement, it was more social. There was an ongoing intellectual debate about women and plenty of writing about women’s rights. Most of the early modern feminist writers made their point by listing numerous examples of virtuous women from the bible and ancient history and mythology, as these were the touchstones of Italian humanist and Counter-Reformation thought. Sometimes they listed contemporary examples too. But, as powerful as these lists of women were, they also conformed to the proper (men’s) definition of honorable women. Even the most outspoken feminists of the time, like Arcangela Tarabotti, used only the most chaste, angelic examples of women to argue for women’s rights. But she was trying to refute the prevailing notion that women’s sexuality was toxic, out of control, and evil (Eve and the original sin, remember?). Her argument that women are inherently pure and chaste seems weird to us (like we don’t even get to have our own sexuality?), but in that intensely Catholic environment it makes sense. That’s only one aspect of her writing, and I would argue that her feminism is still important.
Likewise, we can see that the powerful Medici women—Christine of Lorraine and Maria Maddalena of Austria—were, like most queens and noblewomen, arranging marriages within their courts to solidify their family’s (and their own) wealth and power. But this doesn’t negate the radical way in which they intervened to prevent domestic violence, and their attempts to give women some say in who they would marry. That meant a lot within a society where marriage had very little to do with choice, especially among the upper classes.
At first glance,
Artemisia’s world looks like a grim, unrelenting, misogynist hell hole, but
when we look closer and dig deeper, we can see that women (and men) were
pushing back against the status quo in all kinds of ways. The fact that so many
powerful men got behind Artemisia, aided her career, and continually bailed her
out (Orazio, Francesco Maria Maringhi, Cassiano dal Pozzo, Galileo, etc.) also
says a lot. These men probably saw her as an exception to the norm—an
exceptional woman—rather than seeing women collectively as equals. Artemisia
probably saw herself as an exception to the norm too, and probably capitalized
on that to a certain extent. But I still think the roots of feminism lie in
these early attempts to widen the expectations of what women were capable of.
Plus, there’s still so much we don’t know. Feminist scholars are trying to
bring a lot of buried, unknown, misattributed, and misrepresented women’s
writing, art, and music to light. This is an ongoing process, an ongoing
What is your
favorite Artemisia painting?
Oh geez, I don’t know! I guess the second Judith Slaying Holofernes in the Ufizzi. There’s just nothing else like it in the world.
– Chelsea Werner-Jatzke, SAM Content Strategist and Social Media Manager
Images: Gina Siciliano, I Know What I Am: The Life and Times of Artemisia Gentileschi. Seattle, Fantagrahics Books, 2019.
something else about being close to it, the actual object, which Gentileschi
made with her own hands, just as Judith carried out Holofernes’s death with her
hands. A Google image search doesn’t cut it. The power of the painting—and the
perspective given through it—must be experienced in the flesh.”
“There’s a lot that
the visitor can’t see that is just as important: all the infrastructure that
makes this historic jewel a thoroughly modern museum, equipped to safely
display delicate artworks,” [SAM Director and CEO Amada] Cruz said. “The reimagined
building will allow us to better fulfill our mission to connect visitors to the
art and cultures of Asia.”
“[An earlier show]
also unveiled an important new body of research revealing an unknown
relationship between the two artists, who first met in the early 1930s and,
despite having a 20-year age difference, formed a strong bond, writing to each
other often about their artistic creations and arguing over the return of realism
after World War II.”
Ask of Naples, and you will likely receive a description comprised of contradictions. A sprawling Italian city at the foot of towering Mount Vesuvius. A dense metropolis bordered by open sea. A vibrant place with a violent side to its history. Visitors to SAM through January 26, 2020, will become familiar with Naples through the exhibition Flesh and Blood: Italian Masterpieces from the Capodimonte Museum. Drawn from the collection of one of the largest museums in Italy—dramatically situated in a former palace, atop a hill overlooking Naples—the exhibition brings together renowned artists of the High Renaissance and Neapolitan Baroque periods as it explores the intersection of physical and spiritual existence.
has historically been claimed by a range of ruling powers, including the
Spanish Empire for two centuries, beginning in 1503. At this time in Rome
Alessandro Farnese was building a monumental collection of works by Italian
Renaissance masters, including a powerful portrait of himself as Pope Paul III
that he commissioned from Titian in 1543, which is on view in Flesh and Blood.
This art collection was ultimately inherited by Charles of Bourbon, who brought
it to Naples when he assumed power over the city in 1735.
am struck by the way that Neapolitan artists seem to collapse the distance
between heaven and earth. This was also my sense of Naples itself—the sea, the
dense city, and the hills are all squeezed into a narrow space, so you get the
most amazing visual juxtapositions,” says Chiyo Ishikawa, Susan Brotman Deputy
Director for Art and Curator of European Painting and Sculpture. Juxtapositions
are also pronounced in the development of the chiaroscuro style of painting
that became a signature of the Baroque era.
In the early 17th century, a uniquely Neapolitan school of painting emerged. Among the school’s founders, was Naples native Battistello Caracciolo (1578–1635), whose stunning painting, The Virgin Rescuing Souls from Purgatory (1622–1623) presents a group of figures—saintly and earthly alike—against a darkened background that at once feels confined and infinite. Also featured prominently is Jusepe de Ribera (1591–1652), a Spanish painter who relocated to Naples in 1611. Like many of the works in this exhibition, his dramatic portrayal of Saint Jerome and the Angel of Judgement (1626) echoes the vivid contrasts of Naples, eternally oscillating between an enthralling light and a violent darkness. Visit Flesh and Blood to develop your own sense of Naples.
Images: The Virgin of the Souls with Saints Clare and Francis, 1622–23, Battistello Caracciolo, Italian, 1578–1635, oil on canvas, 114 3/16 × 80 11/16 in., Museo e Real Bosco di Capodimonte. Pope Paul III, 1543, Titian, Italian, 1488/90–1576, oil on canvas, 44 3/4 × 34 15/16 in., Museo e Real Bosco di Capodimonte. Saint Jerome, 1626, Jusepe de Ribera, Spanish, 1591–1652, oil on canvas, 105 1/8 × 64 9/16 in., Museo e Real Bosco di Capodimonte.
When the Seattle Asian Art Museum reopens next year, visitors will experience the museum’s renowned collection of Asian art in a whole new way. Most of the original galleries will showcase the museum’s collection, while the building’s new gallery—housed in the expansion—will focus on rotating special exhibitions. SAM’s curatorial team saw the renovation process as an exciting chance to rethink how visitors engage with the Asian art collection. “How often does a museum go offline and move everything out?” notes Foong Ping, Foster Foundation Curator of Chinese Art. She continues, “This was an opportunity to dream a little bit.”
The curators convened groups of scholars and community advisors to explore approaches to displaying SAM’s artworks. Moving away from the chronological and geographic organization of most museums, they took a thematic approach instead. Each gallery of Boundless: Stories of Asian Art, the new collection installation, focuses on a theme central to Asia’s diverse arts and societies, ranging from worship and celebration, to visual arts and literature, to clothing and identity. For instance, a gallery titled Spiritual Journeys brings many objects together, from a Pakistani Bodhisattva, to an Indian Stupa, to a Chinese demon, to explore spiritual imagery through unifying ideas such as spiritual guides and guardians. The reinstallation provides an experience of great diversity and a broad context within which to engage with artworks.
Boundless also presents varied voices and perspectives on artworks to offer visitors a wide array of approaches to appreciating SAM’s collection. Along with traditional curatorial texts, artists and Seattle community members also offer their perspectives. The Color in Clay gallery presents a large selection of ceramics from China as well as vibrant works from Vietnam to Iran in a natural light-filled gallery without any contextualizing text. Monitors with more information will be available, but Foong’s hope is for visitors to be immersed in looking closely at subtle differences in tones and textures in the clay and the glazes. “I’m particularly excited about this display because it represents a completely different experience than we’ve ever had at the Asian Art Museum,” she says.
The first special exhibition Be/longing: Contemporary Asian Art also draws primarily from the museum’s collection. It brings together works by 12 artists born in different parts of Asia—Azerbaijan, Iran, India, Thailand, China, Korea, and Japan—who have all lived outside of Asia and are exploring their Asian heritage from global perspectives. Be/longing features Some/One by Do Ho Suh—a sculpture so large that we were previously unable to exhibit it at the Asian Art Museum. SAM’s Curator of Japanese and Korean Art Xiaojin Wu explains, “Some/One is an imposing work that compels the viewer to think about identity and our relationship with society—issues we all care about.” Positioning Some/One alongside works by other contemporary artists, visitors will encounter its powerful resonance in a new exhibition, a new gallery, a new building, in the new year.
exhibition, we are reminded of how art — much like a pitcher of wine or a human
body within the paintings — is a vessel for meaning and message. Gender, race,
class, age, ability and size play roles in communicating these meanings, in
ways that feel historically remote, intimately resonant or disappointingly
approach art from a unique vantage point, intimately located between science,
art, and museum politics. ‘We’re kind of in an ivory tower, but we’re looking
at the front line.’ Nicholas Dorman explains.”
Lisa Edge of Real
Change reviewsIconic Black Women: Ain’t I a Woman, now on view at the Northwest
African American Museum.
And Crosscut’s Agueda
Pacheco Flores visits
the Sea Mar Museum of Chicano/a/Latino/a Culture, which is now open.
“The new museum
draws attention to an often overlooked slice of Washington state history, which
includes major Mexican American contributions to agriculture, railroad
transportation and civil rights. It also breaks ground as the first museum in
the Pacific Northwest to highlight the Mexican American experience in this
The New York Times’
Robin Pogrebin on a
new Bill Traylor show at David Zwirner, with proceeds mostly going
toward the Harlem Children’s Zone.
something terribly natural, terribly right, about having the Bill Traylor
collection turn into money for his progeny,’ he added, referring to the Zone’s
students. ‘I think he would have been — or he is — delighted about that. And I
The Stranger’s Jasmyne
Robert William’s The Father of Exponential Imagination, now on view at
the Bellevue Arts Museum.
skilled draftsman, Williams’s works are often psychedelic, depicting an
alternate, surreal reality. Jaws unhinge so that the tongue can become a sort
of beast to ride, Tarzan-like men wrestle with aliens, and hungry spirits reach
toward burgers covered in demons.”
“As difficult as it
can be to trace the stories and power plays behind objects, presenting a
permanent collection involves the even more daunting task balancing what
curators want to say with what they can, given the strengths and weaknesses of
their museums’ holdings. One current trend is to structure displays
thematically. When the Seattle Asian Art Museum reopens in February 2020, for
example, its installation will use works from different times and places to
explore such common concerns as identity and worship.”