One of my earliest jobs was working as a camp counselor on a farm in Oregon. I loved leading craft time because I could see the campers’ confidence grow as they worked with their hands and made their ideas come to life. This experience inspired me to explore a career in museum education. While pursuing my dual degree in Studio Art and Art History at Kenyon College, I interned at several small Midwestern art museums, where I helped create accessible and inclusive museum programs and didactic materials. After graduating in 2023, I worked at the Information Desk at SAM for ten months. Then, I got the Family Programs internship, and I was so excited to further explore my love for arts education within a large and well-known institution like SAM!
In my role as the Summer 2024 Family Programs intern, I helped plan and run SAM Camp, the museum’s summer camps at the Seattle Asian Art Museum in Volunteer Park. I was supervised by Nani Trias, Educator for Family Programs, who was unbelievably generous with her time and energy. In my role, I had many responsibilities. I helped coordinate between SAM staff, our teaching artists, and our fantastic team of counselors. I delivered morning announcements and planned downtime activities to provide structure and set a positive tone for the day. I planned four gallery tours each week, which complemented the teaching artists’ curriculums. I loved delivering these tours and connecting with the Education staff members who volunteered to lead them. I also appreciated the opportunity to connect with the facilities, visitor experience, and security staff members at the Asian Art Museum who made SAM Camp possible. Providing a safe space for kids to express themselves is what I love to do, and seeing young campers come into their own during their week at camp was so fulfilling!
My internship made me excited about a career in arts education. I developed a stronger ability to coordinate many stakeholders from different backgrounds and to make important decisions independently. I also learned how to create engaging and accessible tours for young audiences, encouraging kids to share ideas and ask questions in the museum space. Most significantly, working with Nani, as well as Nicole Henao and Cristina Cano-Calhoun from the Education department, was incredibly inspiring. I was energized by their thoughtfulness, kindness, and passion for providing meaningful art opportunities for underserved communities. I left SAM Camp feeling hopeful about the Seattle Art Museum’s ability to provide opportunities for growth and connection for youth in the Seattle area.
Due in no small part to the encouragement of the mentors I connected with during my internship, I landed a permanent position at the museum! In September 2024, I started my new job working with the Public Engagement team to create engaging and fresh programming during the museum’s Free First Thursdays. On the first Thursday of the month, the museum is free to all, all day; at the Seattle Art Museum in downtown Seattle, the museum now also offers free programming from 5 to 8 pm. I’m so thankful to the Education and Visitor Experience departments for their unyielding support, and I’ve had so much fun beginning this new chapter with SAM. Come visit the museum on Free First Thursdays to see what I and my colleagues have been dreaming up!
– Lucy Adams, Public Engagement Associate
Photos: Courtesy Lucy Adams. SAM Camp photos: Chloe Collyer.
National Hispanic Heritage Month is celebrated annually between September 15 and October 15 in recognition of the contributions and influence of Hispanic and Latine Americans to the history, culture, and achievements of the United States. In recognition, we’re sharing this essay from a recent Emerging Arts Leader Intern. Learn more about SAM internships.
In memory of Ayşenur Ezgi Eygi, my UW Middle East Studies classmate who was killed by military on September 6, 2024, while volunteering in the West Bank. May we continue to be inspired by her memory to advocate for justice and a free and interconnected world.
Often, when I share that I am taking advanced Farsi classes or talk about my dedication to Persian-English poetry translation projects, I am met with confused stares. I’m a rising senior at the University of Washington majoring in Middle East Studies, with a concentration in Persian and minoring in Art History. With the mentorship of my professor, Dr. Aria Fani, I am inspired to disprove the myth of “untranslatability”: that art, languages, cultures, and people are irreconcilable and at odds with each other. This was a perspective I wanted to bring to my Emerging Arts Leader Internship in Public Relations and Outreach at the Seattle Art Museum this past spring and summer. Over the course of 20 weeks, I worked closely with Rachel Eggers, SAM’s Associate Director of Public Relations, on efforts to invite local Seattle communities into the museum for the summer exhibition, Poke in the Eye: Art of the West Coast Counterculture.
During my time as an EAL intern, I focused on researching and executing an outreach plan with local contacts and partners, and I gathered insight into cultivating community partnerships between the museum and the public. Towards the end of my internship, my focus shifted to synthesizing my data into a report that can support the museum’s future outreach strategies. As a freelance artist with a following of nearly 60,000 on Instagram and more than 10 million views on my original comics, illustrations, and animations, I am keenly aware of the power of social media as a tool for connecting art with the public, and I wanted to bring this knowledge and creativity to support SAM’s outreach efforts.
Much of my internship inspired me to reflect on the intersections of the art museum as an institution and how it connects to our dynamic lives, passions, and experiences. In addition to my educational experiences, I volunteer with Peyvand Non-Profit Organization, which serves youth arts and cultural programming for Seattle’s Iranian and Afghan families. For the past two years, on behalf of Peyvand, I have designed educational posters about the Persian New Year to be displayed in several King County Library System locations. Peyvand director Shahrzad Shams has been a mentor to me as I develop as an artist and advocate, and my work with the organization has contributed to my understanding of partnership work.
SAM invites all EAL interns to create a gallery tour or presentation to share their contributions to the museum with the public. For my gallery tour, I drew inspiration from a personal connection to artwork on view in the museum. I highlighted two contemporary Mexican artists in SAM’s collection, Diego Rivera and Alfredo Arreguín, and presented a gallery tour on the public outreach plan I created inspired by the artists’ works. I was also inspired by my grandfather, Abel García Ossorio, who was the first Mexican American in the US to earn a PhD in clinical psychology after being rejected from colleges for being Hispanic. Using my time at the institution and access to its artworks by Rivera—two of which are on view in American Art: The Stories We Carry—encouraged me to learn more about the Mexican muralist movement and the hectic period following the Mexican Revolution, as I better my understanding of the history and political and social instability that led to members of my family immigrating to the US from northern Mexico in the 1920s.
As an artist, I often prefer expressing myself and experiences visually through illustrations and comics. So to accompany my reflection, I also completed an illustration inspired by one of the works from my SAM gallery tour, Stalemate (1973) by Alfredo Arreguín (b. Michoacán, Mexico, 1935–2023), a Seattle-based artist who unfortunately passed away last year. The oil painting blends Pacific Northwest flora and fauna with other symbols and familiar images from Arreguín’s upbringing in Michoacán and Mexico City. A new work in SAM’s collection, the painting was on view in Poke in the Eye this summer.
I am drawn to the memory-like, stream-of-consciousness quality to the original painting, and I decided to create my own illustrated interpretation with symbols from my experiences and learnings at SAM this spring and summer. During my SAM internship, I visited Mexico City, which influenced my gallery tour. I represented this with a concha, an iconic Mexican sweet bread pastry; a cafecito; and a book on Frida Kahlo, who had also been a muse for Arreguín throughout his career. My Persian and Iranian studies at the University of Washington also guided me during my internship, and I illustrated a book that my language professor Dr. Fani had lent me for the quarter: Paintings and Designs of Sohrab Sepehri. I paid visual homage to the original painting by incorporating drawings of flowers, fruit, stars, and a mountain, but added my own flair: the flowers in my piece are nasturtiums, my mother’s favorites, and cherries represent the summer fruit of the orchard in my extended family. The mountain, originally a landmark of Mt. Rainier, painted by Arreguín, in my version became inspired by the illustration of a mountain on the cardboard box of Alvand on my tea shelf, named after a mountain range in western Iran, which is also a brand of sugar cubes to mix in hot chai and coffee called qand in Farsi. The cactus entering on the left represents both my heritage connection to Mexico and my online handle (@sensitive.cactus). Instead of flowing branches, I instead wrote in Persian calligraphy two words that are very meaningful to me and frequently appear in poetry: عشق “eshq” (love) and هیچ “heech” (nothing). While the original painting incorporates images of butterflies, which to me represent completion and fulfillment, I opted to draw a caterpillar, representing personal growth and embracing the in-between process.
I would like to thank my friends, family, and SAM staff for their support along the way, which was pivotal to my experience. I am appreciative of SAM staff who made me feel welcomed into the new environment and offered advice and understanding.
– Amelia Ossorio, Emerging Arts Leader Intern in Public Relations and Outreach
My application to become a SAM Emerging Arts Leader was a shot in the dark. As an oil painter, object conservation seemed out of my realm. When I was finally offered this internship, however, I felt like I finally had a chance to explore a new aspect of the art world.
Unlike painting, the goal of art conservation is to not grab the attention of the viewer. I dove into projects with the hope that viewers would not see the countless hours I spent chipping away at flaking paint or the brush strokes in my wax applications. An art conservator is a kind of secret hero, working in stealth to make it seem as though all artworks on view have always been bright, shiny, and untouched by time. As a SAM intern, I grew familiar with employing vastly different treatments to an assortment of objects and sculptures.
While working alongside Liz Brown, SAM Senior Objects Conservator, I had the opportunity to help reassemble Me and Pops (2019) an artwork by American contemporary artist Aaron Fowler. It took precision and many hands to lift the plywood backing—when handling art in such an intimate way, I started to notice things that the average viewer might not. I needed to be aware of weak points, sharp edges, and even the fibers of the organic material. Many of those details revealed evidence of the artist’s hand. While thinking through these small details I felt like I was in a conversation with the artist, rather than simply handling an object.
Andy DeLapp and Liz Brown, SAM Senior Object Conservator, at the Olympic Sculpture Park.
I was also able to learn how to treat smaller objects in the museum’s conservation lab with Geneva Grisworld, SAM Associate Object Conservator. I gained insight into the research and documentation that conservators are required to complete before treating any object in the museum’s collection. Focusing on an 18th century French mustard cup, I took care in documenting every feature, scratch, and dent. I then made a mixture of calcium carbonate and ethanol to delicately remove the tarnish layer by layer. Slowly, and much to my satisfaction, the dull orange-tinted surface transformed into a dazzling silver. I made my own file on The Museum System (TMS) to document the cup’s condition, treatment, and analysis. I took a lot of joy in researching the history of mustard cups, especially discovering that this particular mustard cup was likely missing a spoon!
As an artist, I now think about how my own two-dimensional painting practice relates to object conservation. I think about my methods, the paints I use, and the craftsmanship of my hand-stretched canvas. I ask myself, “Will future conservators need to re-tension my canvas? What can I do toprevent paint lifting in the future? Should I note the pigments used in case the paintflakes?” The behind-the-scenes look at art conservation I received as a SAM Emerging Arts Leader has shattered the barrier that once sat between myself and the intimidating white museum walls.
I am extremely grateful for my experience as a SAM intern and am eternally grateful for the guidance offered by my supervisors on the conservation team. As my internship comes to an end, I will be pursuing jobs in art handling, and carrying my knowledge of conservation into my painting practice. I take pride in contributing to my community by caring for our beautiful art, and I sincerely hope my work at the Seattle Art Museum is unseen by the viewer.
– Andy DeLapp, Emerging Arts Leader Intern in Conservation
I have been asked this question since I was a child. Now, as a junior at the University of Washington Tacoma, that question has evolved:
“What do you want to do after college?”
No matter how it’s phrased, the question still sends a wave of nerves down my body. Growing up, there were high expectations for me to excel. As the only US citizen in my family, I wanted to show my parents that their sacrifices were worth something; as a student with a learning disability, I have struggled to catch up to my classmates; as an early-career professional, I constantly face uncertainty about what success looks like for me. Whenever I am asked who I want to be, I am reminded of my childhood fears—of the dark, the unknown, and what the future holds for all of us.
I joined SAM’s Teen Arts Group (TAG) in 2020 as a senior in high school, and just recently wrapped up my second year as an intern helping to oversee the same program. As part of SAM’s education team, my goal was to provide youths with the same community experiences and leadership opportunities I received when I was a TAG member.
I joined TAG at the start of the COVID-19 pandemic. During that time, I was beyond scared about my future. I knew I wanted to go to college and get a degree in writing, but I was uncertain about where to take that experience afterward. While serving as a TAG leader, I learned that there were many opportunities out there which combined my passions for art, writing, and creating inclusive community programs.
After graduating high school, I decided I was interested in learning more about museum education. More specifically, I wanted to play an active role in creating artistic and educational opportunities for young students of color, populations who—like myself—have been historically excluded from art museums as a result of income inequality and systemic racism. Throughout 2020, TAG meetings were often spent discussing this issue because many of us had personally experienced exclusivity from art institutions. We made it our goal to prioritize inclusion across all our events, encouraging BIPOC teens from all social backgrounds to showcase their art and feel welcome at the museum. This led to On The Verge, a teens-only exhibition featuring artists whose perspectives and identities are shaped by race, gender, ethnicity, and social background. This exhibit was free, accessible, and open to the public—all of which helped artists, and my TAG colleagues, feel seen and valued at the museum.
As I have grown into my role as the Teen and Family Programs Intern, I have learned so much about how TAG is planned and executed behind the scenes. On the same day I am writing this reflection, I am also helping develop TAG’s yearly and weekly schedules, lead discussions and presentations with TAG participants, create content for @SAMTeens on Instagram, plan icebreakers and team-building activities, coordinate guest speakers, and provide mentorship opportunities for this year’s cohort of teens.
TAG is intended to help teens explore their passions and build leadership skills that will benefit them long after their time at SAM. I know how confusing and stressful it can be to navigate life after high school, and know how vital it is for teens to have a safe place to learn, ask questions, and make mistakes. As a TAG mentor, I’ve encouraged teens to anticipate problems, discuss questions, and think deeply about their short- and long-term goals—all of which are skills I have found helpful in my work as an Emerging Arts Leader.
My internship experience at SAM has expanded my view of what art and museums can be. By collaboratively planning projects and facilitating group discussions, I came to realize how great diversity leads to greater inclusion in museums. The teens I work with all come from different backgrounds, use different art mediums, and have different styles of leadership that shape their worldview.
I still have much to learn about running a community program like TAG, but my experience so far has shown me that I am on the right path in achieving my goals and overcoming my uncertainties about the future. Now when I get asked what I want to do when I grow up, I can confidently say: “I’d like to work for an amazing organization like SAM, making sure art is accessible and inclusive to all.”
– Karla Pastrana, SAM Emerging Arts Leader in Teen Programs
It’s a question I kept coming back to during the six months I spent working in public engagement at SAM. In my mind, museums have shifted from being spaces of neutral cultural authority to being places of critical thought. Walking through any museum galleries, I encourage visitors to ask how Indigenous belongings are acquired or displayed and to consider the positionality of curators and donors when reading wall texts. In a field founded on colonialism and steeped in the erasure of marginalized voices, how can museums shift to reflect the communities in which they exist?
I was lucky enough to spend two quarters as an Emerging Arts Leader at SAM, first in the summer at the Olympic Sculpture Park, then the second in the fall at the Seattle Art Museum. While at SAM, I was also taking a University of Washington class with Katie Bunn-Marcuse, Curator of Northwest Native art and Director of the Bill Holm Center at the Burke Museum, titled “Museums & Indigenous People: History and Decolonization.” I hope everyone working in museums gets to take a class like this one.
In taking this class, I became a little bit of a museum nerd. We learned about art historian Ruth Philips’ multivocal and community-based exhibition models that seek to move toward decolonizing museums. Multivocal models include multiple perspectives in exhibitions, while community-based models let artists and community-members take the reins of art curation. In my time at SAM, I was thrilled to experience both of these models in action through the public engagement projects I worked on. It was one of the first times I saw my personal, academic, and professional interests come together.
I hit the ground running with Summer at SAM as I worked to create opportunities for audience-artist connection. My supervisor Heaven Quiban, SAM Manager of Public Engagement at the Olympic Sculpture Park, advocated for the community-based model of event curation, partnering with local community-led organizations like Wa Na Wari and Nepantla Cultural Arts Gallery to develop interactive programs facilitated by different cultural groups each week. With the understanding that our partners knew their communities best, we let our partners lead in choosing which teaching artists and performers to collaborate with.
In the fall, I learned more about the multivocal model while working alongside Jesse Jimenez, SAM Manager of Public Engagement at the Seattle Art Museum. I attended events—from house drag shows to art markets to comic book festivals—then vouched for artists for upcoming SAM events and programs. For example, I developed a thorough list of potential partners for this spring’s edition of SAM Remix, including musicians, performers, and artists that reflect the event’s intended audience: young, queer people of color.
One of the aspects I most appreciated about my time at SAM was my coworkers’ willingness to talk about the crucial changes needed in the museum industry. We discussed how SAM could address the non-profit industrial complex and the ethics behind certain marketing and public engagement strategies. In the fall, I noticed a need for an art-making space for queer folks at SAM. I was already familiar with Elva Bennett’s Seattle-based Queer Figure Drawing Series and decided to reach out to them to discuss the potential of developing a similar series at SAM. From there, I presented a pitch to SAM staff, wrote a formal proposal for the series, and created a budget. It feels exciting and fulfilling to take initiative in connecting my community to SAM, through partnering with local grassroots projects.
Prior to this internship, I would not have felt comfortable developing this event series from the ground-up. Now, however, I feel more confident in my background, largely because of my two managers’ incredible mentorship. I genuinely felt like I belonged at SAM because of the exceptionally kind and dedicated people on the Education and Public Engagement team, as well as the wonderfully creative, hardworking folks in Facilities and AV. There are few things as satisfying or heartwarming as seeing months of tough planning come together into a unique moment of experiencing art in community.
As I look to my future, I intend to use the skills I’ve learned at SAM—including dynamic collaboration, self-advocacy, humble ambitiousness, and the good kind of stubbornness—as a guide. Heaven and Jesse have been the best mentors I could ask for at this stage in my life, both personally and professionally. I’m looking forward to learning more about how public engagement and education can help dismantle systems of oppression that lead to issues like the tokenization of BIPOC and LGBTQ2S voices. I hope to see SAM implement more anti-racist, Indigenizing approaches to its programming and collections, such as more extensive repatriation and by hiring an Indigenous curator. I would also love to see SAM transition to being a museum that offers free or sliding scale tickets ($0 upward). Lastly, I look forward to hanging out with my now former coworkers and continuing to grow together.
At the end of my time at SAM, I am left with a new question: can museums truly be decolonized? Although I don’t know the answer to this question, I know I want to play a role in moving them in that direction.
– Sorel Nica (they/them), SAM Emerging Arts Leader in Public Engagement
Growing up, I was always allured by the welcoming mystique of museums. There’s something soothing in the ever-changing exhibitions, never knowing what you’ll find around each corner. A gallery is a space where you can be swallowed up by the art on every wall and forget about the world outside for a moment. I never dreamed that I would be able to be a part of the magic that is Seattle Art Museum and its team of dedicated individuals.
Throughout the course of my internship, I found myself questioning what it meant for a person or community to be reflected on museum walls. Art institutions have historically been a place of exclusion and were known to primarily display the artwork of white male artists. Yet, as society changes before our eyes, these institutions are also changing as they adopt equitable values and acknowledge the harm of their past actions. From my first day on the job, it was clear that everyone at SAM was (and still is) committed to doing this necessary work. The existence of my own role at the museum is evidence of the thought that SAM is putting toward greater inclusion.
In January of 2023, I was offered the position of an Emerging Arts Leader Intern in Equity and Communications. In the six months I spent at SAM, I was able to gain a unique perspective on the inner workings of an incredible institution and highlight the internal work necessary in connecting art to life. During one of my last weeks at SAM, I led a gallery tour discussing artworks that made me feel at home and the significance of changing canon museum artifacts. I took a Socratic approach to my tour, posing critical questions in order for participants to engage deeply with two works: Dawoud Bey’s David Hammons, Pissed Off (1981) and excerpts from Jim Goldberg’s Rich and Poor (1977–1985). I was drawn to these pieces partially because I’m a photographer and these photos were shot on black and white film. More so, these images portray the raw and emotional nature of life. Whether it’s the complexities of race within the arts world or economic class barriers, these artists capture the reality of our contemporary moment.
One of my favorite aspects of this internship was the opportunity to meet so many individuals who are palpably enthusiastic about their jobs. I would like to say thank you to everyone who made me feel at home on the SAM staff, and particularly to my supervisor, Priya Frank. Priya made me realize that I don’t have to sacrifice a single part of myself to be successful and that giving a commencement speech at T-Mobile Park while wearing sparkly Doc Martens, big hoops, and a bright pink lipstick is not only acceptable, but also aspirational. Anyone who’s had the pleasure of meeting Priya will tell you how she exudes pure light and embodies the philosophy of using “joy as my weapon.” Thank you for everything Priya, you’re my idol.
As a newbie to Seattle, I felt disconnected from the art world, as it’s always hard to break in and form connections in a new city. Throughout my time at SAM, I was able to meet many different artists and worked alongside so many talented interns. Thank you to Emma, Zak, Alexa, Jo, Aranya, Elizabeth, and many more folks who brought a smile to my face every day at work.
This opportunity has made me believe in myself as an artist and leader, showing me that nothing can stand in my way from achieving what I want. I am immensely grateful for the ways my SAM internship pushed me to my full potential, and for everyone at SAM who believed in me.
– Teagan Nathe, SAM Emerging Arts Leader in Equity and Communications
This article first appeared in the February through June 2024 edition of SAM Magazine and has been edited for our online readers. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks!
I’ve always enjoyed spending time in art museums. With ambling hallways and multiple rooms featuring a variety of historic and contemporary art, it’s the excitement of not knowing what I’ll discover next that first got me interested in working at one. I joined SAM with the intention of learning more about how different museum departments come together to facilitate ideas. Suffice to say, I checked off this goal during my first few weeks at SAM.
As an interpretation intern, I learned how SAM uses technology and verbal descriptions to improve accessibility for different audiences at the Olympic Sculpture Park. Verbal descriptions explain a work of art in terms of its color, size, texture, and other features so that individuals with low or no vision can better experience the piece. I developed the skill of writing for auditory purposes in this process. Conducting research on the most inclusive ways to approach writing these descriptions—along with the continuous feedback provided from the rest of the verbal description team—helped me overcome this learning curve of shifting from writing for reading purposes to writing for listening purposes and led me to produce some of my best work.
While conducting this work, I began to ask questions about the smartphones that museum visitors can check out while browsing the galleries—part of SAM’s effort to improve in-gallery accessibility. This led to important conversations about how we envision visitors interacting with these devices and what museums can do to support such interactions (thank you to the visitor experience team for their expertise). Beyond these tasks, I also helped in developing the interpretive elements of Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston, including the touch cart, in-gallery guide, and the digital collage interactive.
The support I received from the museum’s staff, security, volunteers, and my fellow interns played a tremendous role in how I approached my work. Asking questions to people from different departments created a system of support in which I knew everyone at the museum was eager to help. From isolating digital elements of Hokusai prints with the design team to prototyping a touchscreen interactive with staff from multiple departments, I believe collaboration was essential to my time at SAM. Deciding which topics to research and conducting meetings related to the Hokusai interactive taught me about not only project management, but also about Japanese culture and history. In writing the guide the exhibition’s interpretive touch cart, I also became familiar with the materials used in Japanese woodblock printing—thank you Jessica and Sorrel for your help!
As I began my SAM internship, it was exciting to see all of the tasks that SAM’s staff had planned for me; there was so much to do and so little time! Prioritizing tasks was one of the most important skills I developed. Although each new day was filled with exciting events and meetings, I made important decisions on which ones I attended and which I did not to ensure I could independently complete my tasks within a timely manner. Another skill I learned through this internship was networking. I learned how to ask questions about different staff members’ experiences and took advantage of the opportunity to get to know new people in the office, kitchen, elevators, and galleries. These skills are something I will carry forward in my academic and professional life.
This internship showed me the initiatives the museum takes in making art accessible to visitors— something that I am particularly passionate about. Knowing that so many people care about the same things gives me immense hope for the future of museums. From accompanying docent-led tours to conducting surveys in the galleries, I learned how to engage with the public and lead conversations about art. As someone who has always been a bit hesitant to voice my opinion in large groups, my newfound confidence and eagerness to speak in public is one of the most valuable lessons I learned at SAM.
None of this would have been possible without the support of my incredibly supportive and encouraging coworkers. I want to particularly thank my supervisor, SAM Educator for Digital Learning Ramzy Lakos, whose creative ideas played an integral role in shaping my SAM experience. His optimism and sense of humor always made even the most challenging task feel simple. I want to thank everyone on the education team as well. Their excitement about the museum’s future shines through in everything they do. Lastly, I am grateful to everyone who I reached out to at various points in the last few months: thank you for making me feel like a part of the SAM community. I look forward to carrying these experiences into the next step of my career.
– Shuprima Guha, SAM Emerging Arts Leader in Interpretation
My first recreational adventure after settling in Seattle in 2021 was to SAM. As I had just recently decided to pursue a second degree in art history, I felt strangely comfortable throughout my visit. I left the museum that day filled with countless stories told through the installations, a growing curiosity for art curation, and a hope that I would be back soon.
And lucky for me, that desire came true. Working under the supervision of Theresa Papanikolas, SAM Ann M. Barwick Curator of American Art, as an Emerging Arts Leader Intern over the last few months has allowed me to explore what curators do. As part of my role, I was tasked with research and writing supplementary information for the upcoming exhibition Jaune Quick-to-See Smith: Memory Map. Opening Thursday, February 29 at SAM, the retrospective will survey five decades of Smith’s (Confederated Salish and Kootenai Nation) work. My work focused on researching and creating an in-gallery display for the exhibition that highlights the artist’s relationship to Seattle.
My research began with sifting through existing scholarship and archival materials on Smith. The more I read, the more I came to understand her as a leading contemporary Native American artist who examines American life by engaging with powerful ideas of Indigenous memory, culture, and history. Although I compiled a hefty list of Seattle public art, exhibition, and curatorial projects she participated in, I felt that it lacked cohesion since the documents appeared separate from existing discussions of her work. How, then, could I organize them together in a display case?
I temporarily filed these questions away as I sifted through 150 newly acquired scans from Smith’s personal archives dating from 1996 to 1998. These digitized letters outlined years of correspondence regardingthe West Seattle Cultural Trail, a public art project she created alongside local artists Donald Fels and Joe Fedderson (Okanogan and Arrow Lakes).
As I meticulously pieced together these lengthy conversations, I watched the project unfold from a front row seat. It gave me a glimpse into the public arts process, the intentionality required, and the communications exchanged between differing personalities. I thought back to the initial questions Theresa encouraged me to consider within my work: What is Smith’s presence in Seattle? How do we illustrate it? I then recalled an interview in which Smith was quoted as saying, “All of our stories, all of our origin stories come out of the land.” Her words led me to reevaluate the trail’s physical dependence on land and its goal to “share in the collective memory of the West Seattle community.”
Suddenly, the collaborative storytelling throughout her oeuvre did not exclude what she accomplished in Seattle. From the trail, my project expanded outwards into three main themes for the display: her dedication to teaching, and the importance of language in her practice, and the role collaboration has played throughout her career. Regarding the retrospective, Smith says “in this long journey, it is step by step, hand over hand, something like climbing a rope.” Therefore, my goal became to guide visitors to see Seattle as a crucial strand in the rope she climbed.
To demonstrate Smith’s dedication to education, her correspondences with Donald Fels revealed their shared interest in involving local students in the project’s development. Smith was adamant that the trail give visibility to hidden stories, and the accompanying Voices of the Community booklet gave students the opportunity to share their perspectives through poetry. Her commitment to education also extends beyond the trail to her other public works, lectures, and children’s workbooks. Considering how her Olympic Junior College art teacher once told her “she could teach… but she shouldn’t count on being a painter,” she powerfully accomplished both. Therefore, when she said “I go out and teach… that’s what my life is about, my work is about,” it is important that our illustration of her presence in Seattle brilliantly reflects this.
That said, the trail allows other dimensions of teaching in her practice to be explored, such as writing. Countless letters between Smith and other Indigenous colleagues reveal that the Native stories told on the trail are intended to teach visitors, and that their accuracy was of the utmost importance.
This intricate combination of writing and collaboration is evident throughout her own curatorial practice, which first blossomed in Seattle. In each exhibition, she approached texts intentionally because writing inclusively “[showcases] the voices of Native artists.” As a curator, her exhibitions helped propel the trajectory of Native recognition in the arts, in turn increasing visibility for new artists. Altogether, her curatorial practice emphasizes that writing and “networking [are] as much for her artistic medium as paint and canvas.”
Lastly, Smith’s insistence on collectivity through collaboration is not limited to her immediate Native community. Her cooperation with other artists of color is a lesser known fact, despite her clear belief that “passion for our art and for one another,” commitment “to narrative work,” and a “strong sense of survival” bonds them together. Therefore, as part of this last theme, which explores Smith’s involvement with Asian Americans through the trail project, I hope to challenge this chronically overlooked detail.
Numerous letters reveal Smith’s dedication to including Asian American voices in retelling the history of Alki Beach. She spent weeks researching, and gaining approval from local experts and friends to ensure that the communities would be “proud of what is there.” With these letters, I hope to underscore how the diverse experiences and relationships that influence her are not constrained by gallery walls. These strands of her personal history may not be immediately apparent on the surface of her artworks, but through her ties to the city we share, they come to life.
As a result of my in-gallery contributions to Memory Map, I hope visitors leave SAM with a clear understanding of how Smith and her relationship to Seattle do not stand in isolation. Their interconnectedness leaves room for the viewer to contemplate how their presence in the exhibition’s galleries is also an act of collaboration and learning with Smith. Therefore, it is important that her voice rings throughout my work, such that the answer to her question “can I take these feelings and attach them to a passerby?” is an overwhelming yes.
I went into this internship eager to peel back the mysterious layers of museum work, in order to discover what processes are involved in curating exhibitions. Sitting at my desk in the corner of SAM’s administrative offices, I was initially afraid that I would feel alone. However, that sentiment couldn’t have been further from the truth. As I uncovered the intentional collaborations that flowed through Smith’s storytelling, I realized the same started swirling into mine. Through this experience, I found myself learning how to research unfamiliar topics with courage, and approach art curation as a storyteller. This growth was only possible because of the incredible SAM staff, who I want to take the time to thank.
I truly started to see curatorial work as storytelling after my lunches with Museum Educator for Digital Learning Ramzy Lakos, where he also encouraged me to use Smith’s own voice to frame my in-gallery display. It was after an insightful conversation with Catharina Manchanda, SAM Jon and Mary Shirley Curator of Modern and Contemporary Art, that compelled me to incorporate Smith’s involvement with other communities of color. I want to thank Carrie Dedon, SAM Assistant Curator of Modern and Contemporary Art, for reminding me to courageously explore the intersections of my studies and extend a special thank you to my cubicle-mate, Danelle Jay, SAM Curatorial Print and Content Associate, for always lending a listening ear, and reminding me that our storytelling should relate to people. Most of all, I want to thank Theresa, for her indispensable expertise, patience, and genuine collaborative spirit that has made my SAM internship an incredible experience.
As my internship draws to a close, I look forward to seeing how my display comes to life when Memory Map opens at SAM this spring and urge you to visitthe West Seattle Cultural Trailin the meantime. I am excited to take everything I have learned at SAM into my future endeavors, and am looking forward to where I next go.
– Elizabeth Xiong, SAM Emerging Arts Leader in Curatorial
If you had asked me about my career plans a year or two ago, I would not have guessed that working at the Seattle Art Museum was in my future. It wasn’t until my first year of college when the histories, values, and principles embedded in my surroundings captured my full attention and academic interest. It left me with no choice but to abandon my math and economics studies in favor of art history. Combined with my latent interest in Korea, as fostered by a childhood richly patterned with Korean objects and visual culture, I chose to pursue a career in museums to further learn and digest my history through the lens of Korean art history.
It is with this background that I entered the Seattle Art Museum for the first time this past January. Though I grew up in various parts of Washington, visiting the Seattle Art Museum had always evaded me. I came to SAM with an interest in art history and connecting students to art, so my work within the institution’s education department creating educator and student materials was particularly relevant. Through all of this work, my supervisor SAM Manager of School & Educator Programs Yaoyao Liu’s mentorship and guidance was crucial.
Aside from putting up with my many (many) questions as I became acquainted with everything, Yaoyao and other colleagues in the education division were the resident experts who helped me get through it all and eventually join them as a staff member. Though general visitors may not be impacted by my work, I want to plug the SAM educator and student offerings. My work creating art activities and in-gallery materials with the exhibition Ikat: A World of Compelling Cloth and the traveling exhibition Hokusai: Inspiration and Influence from the Collection of the Museum of Fine Arts, Boston will be available for students to work on in their classrooms and at home, as well as the numerous offerings created by colleagues.
A notable highlight of my internship was my work with Korean objects from SAM’s collection, on view at the Seattle Asian Art Museum. In March, I offered a presentation to museum staff and the public on a four-panel chaekgeori screen and wooden chest as furnishings in Joseon homes. Through research on these objects, I grew to value the ambiguity of the objects a museum sees come through its doors. That is to say, my research of these objects through the Emerging Arts Leader Internship afforded me the opportunity to break up the polished object lists that neatly fit into textbooks, coursework, and curriculums with objects I might not otherwise encounter.
The Seattle Art Museum is a space to thoughtfully learn about and digest information on a diverse collection of culturally significant artworks. I began my internship at SAM with a limited understanding of museums and am leaving with a clear vision for my future in the museum field and art history. With a two-pronged goal of further understanding Korea’s art history and bridging the gap between esoteric arts research and the public, I can’t help but be sad that I am leaving the work at SAM so soon. As a visitor, intern, and staff member, I certainly have been able to explore where my interest in historical Korean art and I might fit in a museum.
By no means will this exploration end with my time as an intern at the Seattle Art Museum. I am thankful for the support of everyone at the museum both throughout the internship and ongoing as I resume studies in Chicago and begin my next role at the Smart Museum of Art. I want to offer a final thanks to Yaoyao, everyone in the education division, SAM Human Resources & Intern Programs Coordinator Samuel Howes, and my fellow interns for creating the bright, welcoming, and uplifting environment at SAM.
– Zakaria Sadak, SAM Emerging Arts Leader in School & Educator Programs
“What do you want to be when you’re older?” Time and time again, I’ve asked myself this question.
From a young age, I developed an affinity towards the arts from my older sister, who was an artist. As my role model, they influenced my passion and professional interest for the arts. However, as a first-generation Asian American, I’ve often had to confront the stigma that comes with pursuing a career in the arts and humanities over a more ‘lucrative’ or stable field like medicine or business. In my own family, this sentiment proved especially true; it was considered a waste of time to study the arts. This mindset naturally impacted the decisions I made regarding my own future.
While I love making art and consider myself a passionate and creative person, the negative opinion of my family and colleagues pushed me away from pursuing a career arts. In entering college, I decided to pursue Human Resources and Education (the idea of working adjacent to art had never really crossed my mind). It was only when I discovered an internship in the Seattle Art Museum’s Human Resources department that my passion for creative work was reignited. It served as an opportunity to combine my desire to work in the arts with my desire to pursue a broader career that might be seen as more ‘stable’ to my family (and admittedly, myself).
At SAM, I was encouraged to connect with other creatives to find out what goes on behind the scenes at an arts institution. I was able to schedule one-on-one meetings with staff across different departments of the museum, connect with other interns, and learn more about what museum work really is. I was most excited to meet the people behind the execution of the galleries and to see exhibitions go from the planning stage to the presentation stage. I especially want to highlight my meeting with Jenni Beetem, a fellow Emerging Arts Leaders in conservation, in which I learned about the preservation of yak milk from the Mongol Empire and the fundamentals of art conservation.
Working alongside the Human Resources team was also an invaluable experience. Ellie Vazquez, SAM Human Resources Specialist and my program supervisor, helped me to better understand what equity looks like in a museum setting and how it is practiced throughout recruitment and hiring processes. Throughout my project work, I was able to observe the diversity, equity, and inclusion (DEI) practices currently in place at SAM, and was tasked with co-editing our Equitable Hiring Guide and hosting a gallery tour of American Art: The Stories We Carry that highlighted the topics of HR and DEI. In that tour, I spoke of how DEI and collaboration have shaped gallery spaces at SAM and beyond, as well as the importance of reflecting the diversity of local communities within museum staff and projects.
In my role as an Emerging Arts Leader Intern in Human Resources, I created training videos and resources for SAM’s internal staff. Sitting in on staff meetings and having one-on-ones with my supervisor helped me gain a greater understanding of what I wanted my role in (or out of) HR to be. As I performed research on staff benefits—which, admittedly, wasn’t the most exciting aspect of my role—I enjoyed knowing that I could assist someone to understand their workplace better. So, while Human Resources did not start off as a passion, I did find joy in the principles, the learning opportunities, and especially the collaboration and connection fostered in this space. While my work may not have been directly involved in the operations of the public-facing museum space, the opportunity to connect with others behind the scenes will always be a highlight for me.
My time at SAM has been a transformative experience. I have met people from all different walks of life and have been fortunate enough to see the passion that goes into running this museum firsthand. When I first came to SAM, I held all sorts of preconceived notions on what it would be like to work in a museum. In my mind, a degree of privilege and higher education was needed to work in an institution such as this and I thought myself to be a terribly under qualified outsider. The Emerging Arts Leader program does an amazing job of combating these notions, allowing those from different walks of life to participate in, and contribute to, museum spaces. It has given me a greater understanding and respect for these institutions especially as SAM continues to grow and reflect the values of Seattle’s ever-evolving community. In leaving SAM, it’s clear that this institution is the product of a community-wide effort from the visitors, the volunteers, and the staff. Being here has allowed me to shift my idea of museums from being an institution of privilege to a space made for communities.
Finally, I would like to thank the specific individuals who helped me during my time here. I would like to thank my supervisor, Ellie, for all her support and guidance. I would like to thank the rest of our Human Resources team, Kathleen Maki and Andrew Young, and especially our internship coordinator, Sam Howes, for facilitating the internship process and creating a support system for us. I would also like to thank my fellow interns Elizabeth Xiong, Teagan Nathe, Jenni Beetem, Zak Sadak, Rebecca Wong, and Jo Cosme—this experience has been an unforgettable one especially because of the other amazing interns I have met during my time here. While I am now at the end of my time here as an intern, it in no way means the end of my relationship with SAM and its community.
– Aranya Kitnikone, SAM Emerging Arts Leader in Human Resources
Teens always have a place at the Seattle Art Museum! Whether it’s enjoying the galleries over spring break, or offering their incredible talents through a variety of artistic programs, the voices of young people have helped to shape the museum in countless ways. SAM’s Teen Arts Group (TAG) is just one example of the critical role teens play at SAM.
TAG is an intensive internship program for high school-aged youth who are eager to learn about themselves and the world through art, and want to make SAM an engaging place for teens. This cohort of young minds meets weekly from October through May to plan teen-friendly museum events and programs, discuss professional development in the arts, and connect around their shared appreciation for SAM’s vast collection. Additionally, and perhaps most notably, TAG members plan every aspect of Teen Night Out, SAM’s annual celebration where teens take over the museum.
TAG offers an environment for current high school-aged youth to safely challenge themselves and others, try something new, and accept failure as an opportunity for growth. TAG Talks, the newest SAM Blog series, is a space for these leaders to reflect on their adventures in the year ahead, offering first-hand accounts of the ways they are stewarding SAM’s mission of connecting art to life.
TAG leaders outline their community agreements at the second meeting of the 2023–2024 school year.
Among its many incredible objectives, one particularly exciting aspect of TAG is the cohort’s undertaking of a yearlong project that demonstrates the skills they’ve learned throughout their time at SAM. In 2023, members worked fiercely to complete two concurrent projects: an illustrated TAG zine highlighting Seattle’s sights and scenes that any teen can enjoy, and a multimedia exhibition, Home Is Where the Heart Is, featuring the artwork of teens from across the region. This year, TAG will be working hard to develop engaging content that SAM visitors will enjoy for years to come. This top secret project will make its public debut on Friday, May 3, 2024 at Teen Night Out, so stay tuned for this exciting reveal.
SAM Teen Programs Intern Mori Peña sits beside artist Dawoud Bey as he speaks with TAG leaders in November 2022.
As a former TAG member and current SAM Teen Programs Intern, Mori Peña is no stranger to the inner workings of the program. Mori is excited to be working alongside this year’s cohort and is especially looking forward to watching the group’s plotting and masterminding unfold. This year’s top secret yearlong project is one that SAM staff have been entertaining for the last few years and for Mori, it’s thrilling to see the pieces finally fall into place. Alongside eagerly returning members, the 2023–2024 cohort is filled with many new faces—we can’t wait to see what new ideas and perspectives they all bring to TAG!
SAM Educator for Youth Programs Cristina Cano-Calhoun in conversation with TAG leaders at their second meeting of the 2023–2024 school year.
Over the 2023–2024 school year, we’ll be sharing original content created by TAG members here on SAM Blog under the series title TAG Talks. As a teaser for what’s to come, you can look forward to a behind-the-scenes look at the installation of an upcoming SAM exhibition, TAG members discussing objects on view in our permanent galleries, and reflections from a hands-on workshop with a teaching artist. As we kick off another session of TAG this month, you can also expect a more active and ever-expanding presence on our Instagram. So, follow us at @samteens and stay tuned for the next installment of TAG Talks!
– Cristina Cano-Calhoun, SAM Educator for Youth Programs & Mori Peña, SAM Teen Programs Intern
I grew up going to the Seattle Art Museum. Its annual Día de los Muertos celebrations were a tradition for my family. Alongside my mom and sisters, we’d excitedly hop on the light rail and make the trip to the museum. I was always so excited to see the traditional masks displayed in the galleries—first the ones like my parents made for Día de los Muertos in Mexico, and then other examples from around the world. Taking the escalators to the fourth floor to admire the collection of African masks on view was, and still is, my favorite thing to do at the museum.
Earlier this year, I traveled to Mexico to visit my grandparents and found myself exploring art museums in my free time. In walking through these spaces and admiring the artworks on view, my passion for museum work—that first sparked during my childhood visits to SAM—was reignited.
With my interest in cultural masks, I was excited to be presented with the opportunity to work on a project related to SAM’s Katherine White collection—composed of over 2,000 masks, baskets, textiles, and other objects from Africa. As I dove into drawers of catalog cards, I discovered how a mask’s story was told through its creators, donor, and eventually museum curators. As an Emerging Arts Intern, I helped to update SAM’s online collections record, eMuseum with useful information about many of the objects in this collection.
As part of my internship, I also contributed to labels for objects on view in Pacific Species. With assistance from the curatorial team, I researched the history of Netsuke (small sculptures which developed as a Japanese art form across more than three hundred years) and its relationship to Japanese myths.
My final contribution as a SAM intern was leading a public tour through the museum’s galleries. It tied together my personal interests and work at the museum with a focus on the objects that have always inspired me: masks. I think the tour nicely encapsulated my internship, as I discussed masks from the Katherine White collection, information I learned from my research alongside the curatorial team, and my personal experience with mask-making at SAM’s Día de los Muertos community celebration.
Being at SAM opened my eyes to the volume of work and coordination goes into operating a museum. I learned so much about how departments interact with one another and the many ways scholars, curators, and the public interpret art, museums, and life itself. Whether it was helping SAM Manager of Teen & Family Programs Nicole Henao develop the itinerary of this year’s Día de los Muertos community celebration, assessing records with former SAM Collection Records Associate Elizabeth Smith in the registrar’s office, or talking about object labels with SAM Photographer Scott Leen and Curator of Oceanic and African Art Pam McClusky, I always felt like a valuable part of the SAM team.
This experience also taught me value of approaching new people and asking more questions. I have grown more comfortable with being put into new situations and reaching out to individuals I wanted to learn from. One of my favorite parts of being at SAM was listening to various staff members discuss their day-to-day work because it was these seemingly mundane conversations that allowed me to develop important networking skills. Looking back on my time at the museum, it’s clear how committed every member of SAM’s staff is to providing the best experience for all museum visitors.
– Thaddeus Gonzalez-Serna, SAM Emerging Arts Leader in Museum Services
I began my SAM Emerging Arts Leader Internship in Graphic Design after returning from two back-to-back emotionally intense trips: One to the Whitney Museum of American Art in New York City to see No existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane María and another to mi Tierra Natal (my Native Land), Borikén (colonially known as Puerto Rico). Why were these experiences so significant to my SAM internship? It’s because they’re what led me to SAM in the first place. I am a Boricua Caribbean Antillean (Native Puerto Rican), born and raised in the aforementioned archipelago of Borikén for 30 years of my life, and was displaced a year after Hurricane María to Seattle. This catastrophic climate event and its austerity measures took away everything I knew in the blink of an eye.
Like many individuals who suddenly find themselves in the US, I had to start my life over. Displacement and culture shock were much harder to navigate than I had expected, and I struggled internally with having to live in the country that’s been exploiting mine for over a century. Opportunities to further my creative career were few as I navigated speaking a second language while neurodiverse, with few established networking skills and no college degree. I was constantly being told by potential employers that although I had an impressive and diverse portfolio, I didn’t “have enough experience.” I felt like I was never going to make it here and considered quitting my passion of being a creative.
An internship seemed like the last best shot for me. I would have the opportunity to relearn everything I needed to know in English, get access to learn new programs at my pace, and could network in a professional setting directly tied to my career path. Eventually, I found SAM’s Emerging Arts Leaders Internship. I read up on the work their Equity, Diversity, and Inclusion department had been doing and I had already only heard great things about its director, Priya Frank. I immediately applied, and lo and behold, I was offered the internship. I couldn’t believe it. Finally, the opportunity I’d been hoping for and it was in a museum! As a creative, I was ecstatic.
Although I was super excited and grateful for the opportunity, I was also equally intimidated to start an internship in such a renowned museum. My impostor syndrome started kicking in. What if I’m not educated enough? What if my English betrays me? What if they use highly academic language and I don’t understand anything? What if my initial nervousness and shyness are misread as uninterested and/or unfit to be a good leader in this environment?
On my first day, I met Samuel Howes, SAM HR & Internship Programs Coordinator, and Ellie Vázquez, SAM HR Specialist. They were very welcoming, careful with their explanations of the museum’s functions, willing to answer questions, and provided a very laid-back, seamless process for what may have been a super stressful experience at other workplaces. I was then welcomed by my department supervisor, Natali Wiseman, and was introduced to the rest of the marketing team as well as some folks from the education team that I’d be working with. Nicole Henao, SAM Manager of Teen & Family Programs, happened to be a Boricua Native to Borikén too, which I only found out because I happened to leave some coquito behind in the staff fridge. I also befriended two Visitor Services Officers—Monique from Taiwan and Marcela from Chile—and later met SAM Volunteers Ying from China and Elba from Argentina. It was great to connect with people who, like myself, had to “brincar el charco” or “cross the waters” in search of a new life. All of this to say, I was very pleased to see how many different stories, languages, and backgrounds I encountered in every department and how wonderful and welcoming everyone was.
As part of my graphic design internship—and because I’m a self-proclaimed Swiss Army knife (meaning I’m good at wearing many hats)—I got the chance to design many museum ads across different platforms, take photos of artworks on view, and help create a video about the Emerging Arts Leader experience that will premiere on SAM Blog in the coming months. I’m excited to include all of these new experiences in my portfolio and am also very pleased to have had the chance to polish my skills, learn new tools, and make new connections at SAM.
Two projects that stuck out for me were designing the lockup for the 2022–23 Teen Arts Group exhibition, Home is Where the Heart Is, and working on new, multilingual ads for the Seattle Asian Art Museum. I related closely to many of the themes explored in Home is Where the Heart Is, including family, displacement, and longing. It’s like the universe was telling me: “Oh, you just got back from visiting the home you miss dearly, so here’s a chance for you to create this design from your unique perspective”. I developed a palette based on a few colors the teen leaders had chosen, and within those found swatches that reminded me of Old San Juan and the sunsets on my favorite beaches in Cabo Rojo at home. I know firsthand how it feels to live in a displaced body and be forced to learn new interpretations for what home can be. My heart continues in Borikén with my land, friends, and family, but I have been able to make a home here in Seattle too with my three amazing Boricua housemates and my two beautiful partners. I’m happy the team was very willing to let me include my unique experience to this design and was thrilled to hear that the education team loved it.
As my internship comes to a close, I feel a lot more confident in pursuing my creative career and starting all over again. I’m sure it will still be hard, but having had this experience at SAM injected me with the hope and confidence I had long lost after losing so much to Hurricane María. I will look back on this experience and feel nothing but deep gratitude for each person I met at SAM. I also want to extend a special thank you to staff members Priya Frank, Samuel Howes, and my two incredibly talented supervisors Muneera Gerald and Natali Wiseman for believing in me and creating a space that people like myself are so eagerly in search for: a second chance.
– Jo Cosme, SAM Emerging Arts Leader Intern in Graphic Design
As a high school junior in 2017, I volunteered at the Seattle Asian Art Museum’s library and caught a glimpse at the inner workings of an arts institution. I never would have known that five years later I would come back to SAM and partake in the Emerging Arts Leader internship. Before becoming a SAM intern and as a recent college graduate, I struggled to identify a career direction and academic pursuits. While I was deeply drawn to the museum world as an outsider and a visitor, I was yearning to discover suitable career paths and learn about professional museum experience so that I could make well-informed decisions for my future.
Throughout my ten-week internship, I learned how to write object labels. I found myself using research skills that I developed in college to get acquainted with a group of Mithila paintings, despite my lack of familiarity with South Asian art. From speaking with professionals in SAM’s curatorial and education departments, I was able to better understand and keep in mind the intended audience of my descriptions. By the conclusion of my internship, I was pleasantly surprised by my evolving skills as a writer and in expanding my knowledge of Mithila art and Hindu iconography.
Another invaluable part of this internship was the opportunity to connect and conduct informational interviews with members of the museum, including museum professionals, docents, and other interns. While there seems to be an invisible pressure of figuring everything out in one’s 20s, I learned that each person arrived at their point in life and their position at the museum through a unique path. Many of them reminisced that they too did not know what they had wanted to pursue at my age and where they would end up. It is okay to slow down and take time to discover oneself. As I continue to discover my career path and academic directions, I was extremely grateful to everyone who shared their life story with me and offered guidance.
Shadowing both frontline work and behind-the-scenes work gave me different perspectives on viewing a museum’s relationship with the public. Behind the scenes, I witnessed the intricate measurements of displays and objects; I sat in on meetings that discussed exhibit rotations months in advance. On the museum floor, I observed docents translating curatorial visions for the public and was left in awe of their ability to recognize a visitor’s familiarity with SAM with just one look. Getting a glimpse of both sides of the museum allowed me to better understand a visitor’s typical museum experience and create labels that allow them to take new information away from their visit. The docent tours and visitor engagement sessions I took part in demonstrated how public tours are not one-sided lectures, but rather a continuous conversation among visitors, docents, artists, and curators. To put my skills and reflection to use, I crafted my final in-gallery tour on the Inari Worship Spirit Foxes from the museum’s collection while prioritizing audience engagement and participation.
As my SAM internship comes to a close, I have begun to set new goals as I look forward to attending graduate school and finding even more ways to stay involved in the art world.
– Doreen Chen, SAM Emerging Arts Leader in Curation
Originally from Rhode Island, I spent countless hours roaming the galleries and storied halls of Rhode Island School of Design (RISD), soaking in all of the art, and hearing new concepts. I wondered if one day I would be someone whose artwork would be up on those walls. I thought about how I could be a part of creating these special places for others. From there, I attended the San Francisco Art Institute where I obtained my BFA in Printmaking and was selected for the Arion Press Bookbinding Apprenticeship. I recently moved to Seattle for this internship from Portland, Oregon where I was the recipient of the Undergrowth Educational Print Fund, a studio scholarship program at Mullowney Printing Company. I had the opportunity to work closely with several well established artists over the course of both these apprenticeships such as Enrique Chagoya, Marie Watt, Jeffrey Gibson, and Kara Walker. As I move forward in my career, I am eager to find ways to incorporate myself into the local book and print arts community in Seattle.
Admittedly, I felt scared and scattered during my first few weeks at SAM, trying to find my place while putting my best foot forward. When I was first asked to consider the personal and professional goals I hoped to achieve, I only had questions for myself about what I wanted to do and about what I wanted to try next. Is working in a museum for me? Is conservation something I want to pursue further? Do I want to or need to go back to school? These questions shaped my conversations at SAM, and I am so thankful for the support from the conservation department as I confronted these uncertainties.
While at SAM, I learned about the education and career paths of other conservators and museum professionals. It was eye-opening to see how conservators at SAM build connections and community with other artists and academics. As I focused on conservation writing and object preparation for future gallery rotations, I am now more excited than ever to take my newfound skills into my future endeavors in the art world, whatever they might be.
I believe the path to a better world is through respect for art, the skill of craft, an understanding of people, and a recognition that art has a powerful role to play in supporting a hopeful transformation of the world. The ways in which I see SAM aiming for equity within the entire organization has been inspiring. To have this symbiotic relationship between my personal artwork, my passion for historical objects, and my political convictions is why I continue my work in uncovering hidden histories and sharing my knowledge with others.
It’s bittersweet as my Emerging Arts Leader Internship comes to a close. My experience at SAM has been nothing short of life-changing and my work with the conservation team has been a dream come true. I will always look back on this experience and my time with Geneva, Liz, Nick, and fellow intern Caitlyn fondly. I hope one day again I might have the chance to color match tissue to an object for repair, attempt to reattach a broken handle on a cedar bark purse again, or write one last condition report. I will forever cherish being able to work so closely with objects from around the world. Forming such a personal relationship with the art that I grew up enamored by and considering it in a completely different way has been one of the greatest learning experiences I could have ever hoped for.
– Samantha Companatico, SAM Emerging Arts Leader Intern in Conservation
When I first applied to SAM as an Emerging Arts Leader Intern, I felt lost. Having moved here from California just a few years before, I felt lost in Seattle and lost as a recent graduate of the University of Washington’s Certificate Program in Museum Studies trying to figure out how to navigate the job market in this new world affected by COVID-19. I needed a way to break back into the museum scene after its brief lapse following museum closures, and in doing so I wanted to experience a new field as I explored Seattle’s arts scene for the first time.
I saw SAM’s internship posting while scouring museum websites and online job boards, and was intrigued by how this opportunity stressed the importance of achieving a thorough understanding of the many roles available within a museum setting and how they all connect. I had never previously worked in a larger museum setting—most of my experience in San Francisco had been with organizations made up to fifteen people—and was excited to learn how a museum of much larger size functioned on a daily basis.
In applying for an Emerging Arts Leader internship at SAM, I wasn’t sure which department I would be best suited for. I wanted to experience a part of museums I had not yet before, and was aided by those I interviewed with on which department that may be. Eventually, we landed on the Development team. This department is composed of several different roles that all aim to bring in additional revenue and maintain funding. I worked most closely with Sarah Michael, SAM Director of Institutional Giving.
In the galleries I had previously worked in, the Development team was be made up of one or two individuals who oversaw all donor, sponsor, and member relationships. But in an organization as large as SAM where the collection, space, and scope of everything is nearly quadrupled, ‘institutional giving’ has an entirely different meaning.
In addition to the work I was doing as part of the Development team—prospecting new potential corporate members, contemporary art funders, and other exhibition or event specific sponsors; creating sponsor reports to be sent out to already existing partners of the museum; working in Tessitura and Raiser’s Edge and learning how to navigate other related sites and programs—my internship included a few other elements that provided the well-rounded experience I was originally searching for. I had the opportunity to meet with, and interview, many amazing staff members occupying a variety of roles across multiple departments within the museum—some of which I had never even considered pursuing. Interns were also tasked with giving a gallery presentation towards the end of our 11 week program. For this project, I picked two ceramic works on view in Pacific Species to research and study, then connected museum staff to help me structure a comprehensive 20–30 minute long presentation in the galleries.
Through this variety of separate tasks and opportunities, I felt connected to the museum as a whole and the many teams that work together to make it function. I was introduced to so many people who had experienced that same overwhelming feeling of finding your place in the arts world, whether they had years’ worth of experience or not, and learned of many new positions that weren’t covered in the many articles, papers, and textbooks I had read in school.
There were times during my internship that I still felt a little lost—wondering what I was going to do after it was finished and how I was going to make the transition from part time internship to full time employment—but I no longer felt alone. I had others with me who knew exactly what I was going through because they had been there too. Now, my uncertainty no longer feels scary, it feels exciting.
This experience has reawakened my love for museums and reminded me why I decided to pursue a career in this industry. As I move forward in my career, I will remember my time at SAM fondly as the experience that got me back on track to an exciting future in museums. I am incredibly thankful to SAM for this opportunity and everyone that I met along the way.
– Brie Silva, SAM Emerging Arts Leader in Development
The Seattle Art Museum could not have entered my life at a better time. In July 2022, I had “retired” from my professional ballet career and was planning to move to Seattle with my partner. I was in the precarious situation of moving to a new city and changing careers at the same time. I have always loved museums, and knew I wanted to be a part of this world in my second career—I just didn’t know what specific part I could play. One day, I stumbled across a blog post written by a SAM intern. In her post, she described how she was able to gain valuable work experience in a world class art museum while discovering how she could see herself fitting into the broader museum space. The opportunity sounded too good to be true, but a bit more research led me to the application for the museum’s Emerging Arts Leader Internships, and I applied right away. I was thrilled to be given the opportunity to join SAM!
Skipping to my first day at SAM, I was placed in the Education and Public Engagement Department working alongside the wonderful Erika Katayama, SAM Associate Director of Interpretation. She explained the ins and outs of her role and laid out the projects I would be working on. This included writing interpretive stops for the museum’s smartphone tour and verbal descriptions of artworks for low/no-vision visitors. This would kick off my three month dive into verbal descriptions, accessibility, and the relationship between visual art and the blind community.
How does a museum make visual art available to those who are low vision or blind? The COVID-19 pandemic greatly reduced the amount of tactile surfaces available to touch in an environment where touching was already discouraged. Audio guides provide background information on the art but typically do not explicitly relay the content of the art. That being said, much of what sighted people glean visually can be conveyed with words. That is where verbal descriptions come in. Verbal descriptions help to create a mental image of an artwork through a detailed narration. Visual art is a misnomer—so much more goes into art than paint on a canvas. Art can be appreciated in an equally valuable way through the other senses. SAM’s commitment to providing these options to visitors is a vital step toward making the museum a more accessible space. A significant part of my internship was spent researching and writing verbal descriptions for artworks on view in American Art: the Stories We Carry and Chronicles of the Global East. Completing this work grew my knowledge of what goes into museum accessibility significantly and changed the way I interpret art. Though SAM has tens of thousands of artworks in its collection, I am glad to have made even the smallest dent in increasing its accessibility to the public.
I am so proud to resume my work with accessibility by continuing to work at SAM over the next few months. This fall, I plan to attend grad school and find my place within the world of libraries, museums, and archives. I can’t wait to see what comes next for me.
– Isabel Amador, SAM Emerging Arts Leader Intern in Education and Public Engagement
Over the decade between my very first lab tour at the Seattle Art Museum and my SAM Emerging Arts Leader Internship in Conservation, I learned that the scope within which conservators work is much larger than the lab. My earlier internships took place in private practice home studios, on-site projects, and archaeological fieldwork. During my EAL internship, I did numerous preventive conservation projects in collections spaces, shared workspaces, and the galleries. As SAM’s first IAIA Collections Care Intern, I am excited to share about the IAIA and the projects I’ve worked on!
The Institute of American Indian Arts (IAIA) is an intertribal college in Santa Fe, New Mexico. As a non-Native conservator whose work intersects with collected Indigenous objects, I enrolled in its museum studies online certificate program to study museum history and contemporary practices. Over the past two years, I participated in class discussions and learned from stellar professors on the best practices in navigating collections and curatorial work. This last semester I successfully hustled for an in-person internship for credit with SAM Senior Collections Care Manager Marta Pinto-Llorca.
Preventive conservation is like preventive medicine: appropriate and timely care intended to slow deterioration. This includes monitoring objects’ condition, using safe storage and display materials, managing indoor climates, emergency planning, surface cleaning, and pest management. Preventive care review included shadowing SAM Collections Care Associate Vaughn Meekins on his weekly gallery cleaning rounds.
Here is a glimpse of the preventive care that was completed for Marie Watt’s sculpture Blanket Stories: Three Sisters, Four Pelts, Sky Woman, Cousin Rose, and All My Relations. Before installation in American Art: The Stories We Carry, conservation workers treated the wool blankets to prevent introducing invisible pest activity into the gallery. Vaughn Meekins, SAM Collections Technician Ignacio Lopez, and I spent many hours non-contact vacuuming both sides of each blanket, refolding, then sealing batches in plastic to freeze for a week.
On my days at the Seattle Asian Art Museum in Volunteer Park, I supported periodic gallery rotations of scroll paintings and textiles. Marta trained me to handle boxed scrolls and to safely unbox, unroll, roll, and box Japanese hanging scrolls. SAM Senior East Asian Paintings Conservator Tanya Uyeda taught me specific terms related to Japanese scroll paintings which added to my vocabulary for condition reporting paper and textiles.
Over many downtown work sessions, I condition mapped William Cordova’s massive mixed-media assemblage Untitled (Cosmos). Cordova intentionally applied dust, unstable collage adhesives, and non-archival tape in his artwork, so it was important to create a detailed condition map before going on view later this year. To mitigate risks during installation and display, I gently tested delaminating collage papers with an air puffer and collected runaway pieces in labeled bags.
Working with invisible disabilities is tough and I’m grateful to my community for sharing collective ambition to build a culture of caregiving: for people and for art. Thank you to SAM for giving me the space to cook up my first public education session! For my EAL intern gallery talk, I introduced the subject of preventive conservation to colleagues and visitors alike, and pantomimed how to dust frames, objects, and casework. I loved fielding questions and teaching skills people can use to care for art in their own homes!
– Jennifer Beetem, SAM Emerging Arts Leader Intern in Conservation
SAM’s Teen Arts Group (TAG) is an intensive internship program for high school-aged youth who are interested in leadership, eager to learn about themselves and the world through art, and want to make SAM fun and engaging for teens. This year’s cohort of future art leaders met once a week from October 2022 to May 2023 to create art, learn about the many unseen sides of an art museum—including exhibition conceptualization, curation, and conservation—lead public gallery tours, and plan Teen Night Out. As we close out another school year, we asked a few of this year’s members to share a bit more about TAG’s purpose and their favorite memories from their year at SAM.
Let’s start with the basics: What is TAG and what did you do as a TAG member?
TAG is all about community to me. Essentially, we work toward our collective goal of making events, activities, and opportunities for teens at the museum. My favorite aspect has been hosting art making activities at influential spaces such as the Seattle Symphony and the Gates Foundation. I was surprised to learn that we get the opportunity to tour the museum after hours and have direct access to staff across a range of departments at SAM. This included folks from Public Programs, Education, AV, Curatorial, and Exhibition Design.
My favorite TAG meeting was when we got creative in how we announced the call-for-artists for our teen exhibition, Home is Where the Heart Is, on view through September 17. We drafted, directed, and filmed a skit that served as one of our core advertisements on social media. It was really fun to work together and come up with a product that we thought would be interesting for teens our age!
– Nivedita Raj, 17
Home is Where the Heart Is at Seattle Asian Art Museum in June 2023.
An integral part of TAG is planning and overseeing the museum’s annual teens-only celebration, Teen Night Out. What was this process like? What was your favorite part of putting this event together?
Planning Teen Night Out was an exciting journey filled with creativity and teamwork. We brainstormed themes, curated an array of activities, and transformed the museum into a vibrant space for teenagers.
My favorite part of Teen Night Out was watching the museum come alive with colors and people. Seeing the galleries turn into immersive environments was truly magical, and it showed the power of our artistic expression. The most rewarding thing was witnessing the impact of our efforts on the teenagers attending the event. Their laughter, curiosity, and awe reflected how art can inspire and touch hearts. It was a priceless reward to see their newfound appreciation and the spark of inspiration in their eyes.
Teen Night Out was more than a party. It was a chance to explore, create, and connect. I think in that evening we helped to bridge a gap between generations, making young voices heard and fostering a sense of belonging in the museum. By opening the doors of the art museum to a new generation, we painted a brighter future. Together, we showed that art has the power to transform lives and unleash boundless potential.
– Kaz Jennings, 16
SAM’s 2022–2023 Teen Arts Group leaders.
This year marked your second year as a TAG member. What advice would you offer any teen thinking about joining TAG?
This was my second year as a TAG member and I have genuinely loved every moment. A word of advice I would give to future TAG members or any teen looking to work with and around art is to just take it slow. Being in a program like TAG there is a lot of information being presented to you every meeting and a lot of opportunities for you to take advantage of. Just remember to pace yourself through those opportunities. You don’t have to take on every elective task that applies to your pursuit of the arts outside of TAG. Balance is essential.
Enjoy learning and watching your peers learn with you; I promise your resume and experience are already cool enough. I mean, you intern at SAM so you have to be cool! Take time to build connections with SAM staff and the other TAG members. They are cool people, you are cool people. Surround yourself with cool people!
If I could go back and give myself some advice before I joined TAG it would be that there is not one way to be an artist or someone who enjoys art. There are all kinds of personalities and people in TAG and everyone brings something unique to the table. Everyone is an important member of the team, myself included!
– Mori Peña, 18
– Cristina Cano-Calhoun, SAM Museum Educator for Youth Programs
Art has always been a passion of mine. I have been drawing and painting since I was a kid, and as I grew up, I knew art needed to be an ever-present aspect of my life, no matter the capacity. I have had some significant figures that helped me come to that conclusion: teachers, mentors, and so many more. With their influence, I came to recognize my path in life: to help people realize their own love of art, just as others did for me. The journey to this point was not without its difficulties, perhaps even a bit tumultuous. Yet, it’s what led me to teaching art classes and, most importantly, my internship here at the Seattle Art Museum.
Being at SAM has been a dream. I truly never expected to be here. During the application and interview process, I admittedly was not the most confident. Had I done enough to deserve to be here? But, I knew if I spoke to my passions, I had a chance. Teaching has always been my way of helping to foster creativity and artistic passion in kids at developmental ages, but being at SAM has allowed me to contribute to something bigger. I have had the opportunity to be a part of an institution dedicated to connecting art with the public and to be a part of a curatorial department that informs, educates, and inspires people through all facets of art—I couldn’t imagine a better place to be!
Seeing all that goes into what makes a museum function successfully has been an education in and of itself. It has been amazing to see the cross-departmental collaboration at work, and to be a part of it. To have conversations with staff across departments and learn more about their contributions to the museum has been one of my favorite parts of this experience thus far. In particular, my conversations with the education, interpretation, and public engagement teams have been so impactful, especially with my mentor. From him, I’ve been able to learn more about what each team is doing in the realms of accessibility and further connecting the public to the work that is displayed in the museum. I have even been given the opportunity to contribute research and content to a few artworks at the Seattle Asian Art Museum and build upon the educational materials already available for them. That kind of experience—to have my contributions be a part of the museum in a permanent capacity—is what I want to continue to do, to leave my mark.
Thankfully, the work that I have done within the curatorial department has given me that chance. I have worked on presentations for exhibition proposals, formatted labels for objects, researched artists for interviews and future exhibitions, imagined my own exhibition, and developed an in-gallery presentation. But, one of the most rewarding parts of this experience has been connecting my conceptual exhibition with the development of my in-gallery presentation because of how personal it became for me.
When I was assigned to curate a potential exhibition featuring ten items from SAM’s collection, I wanted to use this chance to explore my heritage and learn more about the available Filipino art and artifacts. I am incredibly proud of my culture, and it has always been disappointing to see how Filipino art and culture is rarely showcased or discussed in the greater context of Asian culture and history, even though it is incredibly rich and multi-faceted. Even in higher education, where I’ve taken classes dedicated to the history of Asian art and culture, the curriculum usually centers on China, Japan, Korea, and India. And I can imagine most people think of those countries, as well, when they think about Asian culture in general.
Unfortunately, there wasn’t much variety or depth in the artworks from the Philippines at SAM, but there was one set of figures that stood out among the rest: the bulul figures from the Ifugao people of Northern Luzon. Researching these objects provided me with a new direction to take my project. I decided to focus on Indigenous cultures and spirituality throughout the islands in the Pacific. After learning more about the history of the bulul and the Ifugao, it was clear that prehistoric and indigenous Filipino cultures and traditions were more akin to other Oceanic and Austronesian Indigenous cultures found in regions like Micronesia, Polynesia, and Melanesia, with their spiritual beliefs centered on honoring the earth and ancestral relationships. That belief system has been appointed the term animism by western cultures and it is the perspective in which all things—animate and inanimate objects, places, and creatures—possess a distinct spiritual essence.
With these findings, my conceptual exhibition focusing on the important bonds between visual traditions and spiritual beliefs in Indigenous cultures across islands in the Pacific took shape. In my gallery presentation, I wanted to spotlight the bulul figures, the Indigenous culture of the Ifugao people, and its similarity to the cultures of other Pacific Islands, all a divergence from the more discussed modern history of the Philippines (i.e., Spanish colonization, American occupation, and Philippine independence). All I wanted was to share with people the ways that Filipino culture is special, and now I can.
I cannot begin to describe how excited I am to share the research I’ve done so far. It has been such a fulfilling experience to be able to learn more about the history of my culture in the context of art, and being here at SAM has given me the opportunity and the resources to do just that. I am extremely grateful for what this internship has provided me in terms of exploring my passions and building upon what I have already learned. I feel as though I have just scratched the surface as to what I can accomplish here at SAM and I am itching to see the contributions I can make at SAM in the near future.
I’d like to thank SAM Intern Programs Coordinator Samuel Howes for helping me adjust and transition into this internship; to SAM Museum Educator for Digital Learning Ramzy Lakos, for being such an amazing mentor and for our stimulating conversations that I always looked forward to; and, of course, to SAM Susan Brotman Deputy Director for Art José Carlos Diaz—I couldn’t have asked for a better supervisor and mentor.
– Alexa Smith, SAM Emerging Arts Leader Intern in Curation
My first experience with the connective power of the arts was through music. As a child, melodies and lyrics—both new and passed down through generations—shaped my identity and created ties between myself, my family, and my community. In visiting museums like SAM, I feel the same connection to art that I do to musical compositions. With its own harmonies, dissonances, and rhythms, visual art provides me with meaningful experiences and a sense of belonging.
As I grew up, I became increasingly determined to weave the arts into my future career. After graduating with a bachelor’s degree in art history, a minor in music, and building skills through museum volunteering, I was offered the opportunity to join SAM as the Public Engagement Emerging Arts Leader Intern. I was thrilled to start 2023 at my local museum, and I was eager to step into a new area of museum work.
My first day as a SAM intern was surreal. After passing through the staff entrance and finding my place in the fifth-floor offices, I realized my perception of museums was about to change. As part of the public engagement team, I focused on data collection and developing evaluation tools for museum events. I created several post-event surveys intended to collect meaningful feedback that offered a more thorough understanding of SAM’s audience.
Through this research and data collection, I was able to take a deep dive into the goals and values of events and discover the many ways SAM connects with its community. Among them is SAM Remix. SAM Remix is more than a party, it’s an evening dedicated to celebrating art, artists, authentic expression, and community connection. Behind the scenes of the event’s contagious energy are defined goals and aspirations outlined by the public engagement team. I saw a passionate desire to engage with local contemporary artists and strong efforts to reflect the diversity of Seattle’s artistic community through the event’s talented lineup. This experience has inspired me to incorporate community-focused goals into my work’s natural rhythm. I am now driven by questions of how all events can better engage and represent their audience, and ensure every attendee feels welcome, safe, and included. Community events are as vital to the museum as the exhibitions themselves: they truly play a part in connecting art to life. My last day at SAM was filled with heartfelt goodbyes and as a Remix volunteer, the perfect way to witness the result of months of hard work.
Outside of my role on the public engagement team, I was encouraged to connect with staff members across departments and felt the museum valued my voice. As an Emerging Arts Leader Intern, I was able to explore the various facets of the museum by attending and contributing to meetings, shadowing volunteers, witnessing the installation of Ikat: A Compelling World of Cloth, and having the opportunity to write and give a public tour. The tour was one of the most personally impactful parts of my internship. Making room for creative interpretations and passionate research, I was asked to share our perspective on art, leadership, and museum work.
Through this opportunity, I was able to revisit my connection to music, a part of my identity that connects me to many of the works on view, including Mark Rothko’s Untitled (1963) and Naama Tsabar’s Transition (2019). I felt honored to be able to share my own research and perspectives, tell personal stories, discuss the intersection between music and art, and to use my platform to amplify messages I consider important.
Looking back on my time at SAM, I have come to realize that this institution is not static. SAM is alive and possesses a desire for growth and change. Although evident across all departments, I saw this most in the public engagement team’s efforts to put the interests and needs of its community at the forefront of its work. From planning community events like SAM Remix to highlighting the voices and perspectives of emerging arts professionals, SAM has instilled in me an excitement for the future of museums. I am grateful to take with me not only a strengthened skillset, but also ambition, hope, and a passion for public engagement into the next stage of my career.
As my internship (and this blog post) comes to an end, I would like to thank the public engagement team. To Jesse and Jason for their continued guidance and support; to Yaoyao, Erika, and Carrie for offering their perspectives, encouragement, and career advice; and to all of the incredible interns I was able to work alongside, but especially Teagan and Zak.
Finally, thank you to SAM for giving me the opportunity to do what I love and for creating a space that allowed me to form meaningful connections to both art and other museum visitors.
– Emma Johnson, SAM Emerging Arts Leader Intern in Public Engagement
