Patti Payne of Puget Sound Business Journal devotes her latest column to “two uplifting programs to celebrate,” including SAM’s upcoming Par-Tee in the Park series at the Olympic Sculpture Park. This year, our annual fundraiser in support of SAM programs features an artist-designed, nine-hole mini-golf course! Tickets are still available for the cocktail night on August 21.
Lobster roll with it: Seattle PI and Eater Seattle both reported on the new chef and caterer, Shubert Ho of The MARKET, headed to the café space at Seattle Art Museum. Stay tuned for an opening date, and prepare yourself for seafood, noodles, and frosé.
“The [Kinsey] family began researching and seeking out objects, original art, artifacts, and historical documents that gave voice and expression to obscured and often untold stories of African American achievement and contribution. Fiercely committed to sharing the full narrative of our nation’s history, the collection is not restricted by medium, and pieces are both by and about Black Americans.”
“He also wanted to be a painter of social and political history, and the question he asked himself was: ‘How do you address history with a painting that doesn’t look like Giotto or Géricault or Ingres, but without abandoning the knowledge that painters had accumulated over the centuries?’”
Artist Andy Warhol said, “Everybody has their own America, and then they have the pieces of a fantasy America that they think is out there, but they can’t see…” Before getting started, it’s important to acknowledge the America that I live in: I am a white, cis-gendered, able-bodied woman who was born in the northeast United States during the 1980s. I am looking at a work of art created by Kerry James Marshall: a Black, cis-gendered, able-bodied man who was born in the segregated South during the 1950s. Both Marshall and I are artists and educators, but sadly I don’t have a MacArthur Genius Award or paintings in any major museums. I’ll be approaching this work of art using my own lens and the same facilitation strategy I use for my (now virtual) tours of SAM’s collection: Visual Thinking Strategies (VTS). VTS is used to spark dialogue and empower people to approach a work of art using their own observations and experiences, asking three simple questions. I encourage you to follow along and ask yourself these questions, noticing where our backgrounds may overlap or differ.
The first question of VTS is, “What’s going on in this picture?” This is a portrait of a young boy––his skin is a rich, dark black matte, and his features are defined by white outlines. He has heavy-lidded, almost tired eyes and his mouth is neutral, conveying an expression that is difficult to read. Radiating outward from his head are straight thin lines, evocative of a halo. The background is divided horizontally: the bottom third is a golden color, almost a desert landscape; the top is a deep blue overlaid with white shapes, bringing to mind a sky with clouds, though closer inspection reveals that the organic shapes are actually white roses. The paint looks to be hastily applied, as evidenced by the drip down the forehead of the young man. The drip, although white, mimics blood, similar to depictions of Christ or another martyr and links this to religious iconography.
The next question, “What do you see that makes you say that?” challenges our assumptions and biases. As we conclude Black History Month after a year of increased visibility in mainstream media of the racial inequities for Black Americans, I’ve seen myself get caught up in the imagery of Black trauma, recounting video and photos of the brutal murders of Brianna Taylor, George Floyd, and Ahmaud Aubrey. I start to wonder if calling this Black figure a martyr is Marshall’s intention, or my own prejudice? Marshall’s own words confirm that I need to dig deeper: “I paint things I care about. It would have been easy to represent these places (and situations) as zones of hopelessness and despair, but I know they’re more complex than that.”
As I read the label, the curatorial voice chimes in and indicates that Marshall is memorializing Black boys who have lost their lives, stating that the leading cause of death for young, Black men is homicide. In fact, when comparing statistics among racial groups, Black youth (0-18 years old) are seven times more likely to die by homicide than white youth. As an educator, I also can’t help but think about the school-to-prison pipeline and the fact that Black students are three and half times more likely than their white classmates to be suspended or expelled, and that Black youth disproportionately make up those youth incarcerated in juvenile detention centers.
The final question is, “What more can we find?” The language here is intentional—creating meaning is a generative process. This is where, if I were actually speaking to people, I would hear different perspectives and my understanding of a work would evolve. However, when at home, I take this question as an invitation to start researching. After procrastinating on this blog post, watching hours of interviews with Marshall, I was especially struck by one quote by the artist: “If you’re constantly being reminded of the ways in which your history and your narrative as a people were rooted in loss and decay, then you’re in deep trouble. Once you make a certain kind of peace with the past, then you should be completely oriented towards speculation about the future.”
I challenge my initial response to this work. I start to see glimmers of hope in the white roses— symbols of youth, innocence, and new beginnings. I begin to unpack the ways that this painting may embody Afrofuturism, the cultural movement that explores the intersection of the African diaspora with technology, science, and liberation. A few Google searches quickly link the Eurocentric religious iconography that I saw in my art history classes to contemporary icons such as Solange Knowles’s appearance on SNL
In asking, “What more can we find?” we open ourselves up to dialogue and start to imagine a different world, a different America––maybe one that’s fantasy, or maybe one that could be our reality? Marshall’s work gives me hope and I’m reminded of the contemporary author and educator bell hooks’s words, “The function of art is to do more than tell it like it is––it’s to imagine what is possible.”
– Kelsey Donahue, SAM Assistant Manager for Gallery Learning
“The history of the Asian communities in Seattle isn’t all just barbecue pork buns and egg tarts. The ugly side of Seattle’s past includes anti-Chinese riots, discriminatory laws, and the internment of Japanese-Americans during World War II. Now here we are, in the middle of a pandemic that has been tinged, including by the president, with anti-Asian overtones, and restaurants in the ID are hurting badly. Yet they’re remaining open.”
“The three of us looked at whatever interested him, from Dogon sculptures to Dubuffet. Lawrence was a bearish, humble man, courtly, endearing. ‘I guess there’s nothing wrong with a negative statement,’ he reassured himself out loud at one moment, before screwing up his courage to dis Jackson Pollock.”
Barbara Earl Thomas—whose solo show at SAM, The Geography of Innocence, opens later this year—has been commissioned to create a set of windows for a residential college at Yale University; her design will “confront and contextualize the history of the residential college’s name, which originally honored 19th-century statesman and notorious slavery advocate John C. Calhoun.”
“As images on screens, many look like they’ve been rendered by the algorithm alone—a view of the mind of the machine, intricate and sterile. But in person these are big canvases, emphatically textured with oil paint. The colors look different. The intricate lines wobble humanly. The paintings exist in a hierarchy. And—sadly for our moment when quarantines may come in waves—you need to see them in person to grasp the final step.”
An intriguing poll from Artnet of over 2,000 of their readers finds that this art-loving group doesn’t plan to change their art-going behavior once venues reopen. Also among the findings: they are most excited about getting back to museums specifically, and their top reasons for wanting to return are a desire for inspiration, to learn, and to support the arts.
“‘The picture plane is the site of every action,’ Mr. Marshall said. He seemed to be speaking not only about the painting process but also how he conducts his whole life — after all, this is a man who captured a live crow to get to know it better. ‘How things occupy that space,’ he added, ‘matters more than anything.’”
Beyoncé’s “Black Is King”: Six New York Times critics say, let’s discuss.
– Rachel Eggers, SAM Associate Director of Public Relations
Installation view Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, Seattle Art Museum, 2018, photo: Stephanie Fink.
Image: Shiva and Parvati in Conversation; Shiva on His Vimana (Aircraft) with Himalaya, Folio 53 from the Shiva Rahasya, 1827, Jodhpur, opaque watercolor and gold on paper, 16 1/2 × 45 5/8 in., Mehrangarh Museum Trust, photo: Neil Greentree.
Curbed Seattle highlights the Olympic Sculpture Park as one of “26 best places to visit in Seattle this fall,” calling a visit to the sculpture park “the easiest way to feel artsy in Seattle without needing to spend half a day inside a museum.”
“Considering that only last year Mayor [Rahm] Emanuel and Commissioner [of the Department of Cultural Affairs Mark] Kelly dedicated another mural I designed downtown for which I was asked to accept one dollar, you could say the City of Big Shoulders has wrung every bit of value they could from the fruits of my labor.”
“’I always want to make sure that people are looking at the art more so than anything else,’ he said. ‘When you think of things like visual hierarchy, I want to make sure that the art is first and on top of hierarchy.’ And that phone or tablet with its supplemental information? ‘I want to make sure that’s secondary,’ he said.”
Kerry James Marshall’s Past Times recently set an auction high for any work by a living African-American artist; The New York Times’s Scott Reyburn wrote about the rise of value for works by Black artists. He notes that these shifts are also reflected in curatorial choices; SAM’s recent Figuring History exhibition and current Basquiat painting on view are referenced.
What happens when you’ve booked a show four years ago—called Casanova: The Seduction of Europe—and it’s opening now in the age of #MeToo? Hyperallergic’s Emily Wilson shares what San Francisco’s Legion of Honor Museum did.
“’The simplest problem to fix is framing his rapes as seductions and Casanova as a kind of sexy scoundrel,’ she said. ‘We can avoid glorifying or censuring and try to imagine if, instead of a wealthy white European man, this story was told through some of the women of the time.’”
“The piece starts off with a lot of bells. It’s very sparkly. Some of the musicians were like, ‘Oh it’s so beautiful and sparkly, I thought it would be more angry,’ but it’s not at all. There are some ever-so-slightly dark parts. Overall the feeling they wanted to communicate was not about their past experiences, which may have been very dark, but rather a hopeful future. And I think that really speaks to the participants’ resilience and imagination.”
“Contemporary art and religion have long been perceived as antagonists. However, this show suggests that the real chasm is between religion and fashion—the one focused on the realm of spirit and values, the other on luxury and conspicuous consumption.”
A couple got married last Saturday, and millions of people watched. The cultural meanings of it all were much discussed; don’t miss The New Yorker’s Doreen St. Félix on the “profound presence of Doria Ragland,” the bride’s mother.
– Rachel Eggers, SAM Manager of Public Relations
Image: Maharaja Abhai Singh on Horseback, c. 1725, Dalchand, Jodhpur, opaque watercolor and gold on paper, Mehrangarh Museum Trust, photo: Neil Greentree.
“The painting is delightful but the content of it is not.” – Donald Byrd
If you missed seeing Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, or if you just can’t enough of these artists—don’t fret! We’ve got works by Robert Colescott and Kerry James Marshall from SAM’s collection on view in our third floor galleries! KEXP DJ Riz Rollins and Executive Artistic Director Donald Byrd have shared some thoughts on these paintings with us. Look through the eyes of these opinionated individuals and continue to consider the questions and lessons that Figuring History explored.
“. . . I think this individual is prescient. Which means he has a sense of something deeper . . . .” – Riz Rollins
“Figuring History is as visually stunning as it is historically significant. For Robert Colescott, Kerry James Marshall and Mickalene Thomas, the show is validation that they succeeded in their passionate quest to make themselves visible. These artists matter and their art will be a beacon for us all, for those who write the histories and create the shows and for those are able to see themselves represented in museums for perhaps the first time.”
“Dealing with themes such as gentrification and the mass media’s (biased) coverage of the events in Charlottesville, the works in A LONE blend poetry and visual art and speak to the intricacies of being alone in a big city full of people. ‘You’re alone together,’ Stinson says. ‘That’s kind of a fascinating thing.’”
“’The decision to do this rests very strongly on my commitment to rewrite the postwar canon,’ Bedford told artnet News. And while institutions sell art to fund new acquisitions every so often, the BMA’s latest deaccession stands out. ‘To state it explicitly and act on it with discipline—there is no question that is an unusual and radical act to take,’ Bedford says.”
As National Poetry Month comes to a close, if you’re not sure what to read, visit the library inside of the exhibition Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, closing May 13. While there you’ll notice a book of poetry by Morgan Parker titled There Are More Beautiful Things Than Beyoncé (Tin House, 2017). It’s a recent favorite read of this particular copywriter and the cover of the first edition (now sold out) featured a Mickalene Thomas artwork. More importantly, within the pages of this smart, irreverent, and deeply personal collection of poetry is a piece inspired by Thomas, reprinted below! Morgan Parker simultaneously brings great depth to listening to Drake and immense weight to racial discrimination as she fearlessly invokes generations of social injustices within her powerful and playful prose. Parker stopped by the exhibition while visiting Seattle and shared some thoughts on Figuring History as well!
We Don’t Know When We Were Opened (Or, The Origin of the Universe) after Mickalene Thomas
By Morgan Parker
A sip of liquor from a creek. Saturday syndicated
Good Times, bare legs, colors draped like
an afterthought. We bright enough to blind you.
Dear anyone, dear high-heel metronome, white
noise, hush us, shhhhh, hush us. We’re artisinal
crafts, rare gems, bed of leafy bush you call
us superfood. Jeweled lips, we’re rich
We’re everyone. We have ideas and vaginas,
history and clothes and a mother. Portrait-ready
American blues. Palm trees and back issues
of JET, pink lotion, gin on ice, zebras, fig lipstick.
One day we learned to migrate. One day we studied
Mamma making her face. Bright new brown, scent of Nana
and cinnamon. Shadows of husbands and vineyards,
records curated to our allure, incense, unconcern.
Champagne is how the Xanax goes down, royal blue
reigning. We’re begging anyone not to forget
we’re turned on with control. We better homes and gardens.
We real grown. We garden of soiled panties.
We low hum of satisfaction. We is is is is is is is is
touch, touch, shine, a little taste. You’re gonna
give us the love we need.
SAM: Reading We Don’t Know When We Were Opened there’s a lot of assonance that creates repetition and fragmentation that feels to me like a sonic equivalent to Mickalene’s visual fragmentation. What in Thomas’ work inspired you and this poem, formally or thematically?
Morgan Parker: I’ve always loved Mickalene’s work, for the glitter and the color and the attention and the audaciousness. Her work is a celebration, and it’s also a politically intentional decolonization of the art history canon. She builds new worlds and revels in those worlds. I wanted my poem to reflect her work and add to it, translate it in my own words.
How do you think the persona poem and the way that Mickalene Thomas casts her models as art historical figures and tropes relate? Mickalene’s figures are looking right at you and this alters their role—makes them dimensional, such as in a painting like Tamika sur une chaise longue avec Monet. Where do you think that same dimension lives persona poems?
God I love this painting. I like to think of all my first-person poems as playing with dimensionality. I’m interested in using the singular figure, or voice, to call up cultural figureheads and historical tropes. Persona poems are an extension of that—they have two first-person speakers.
What stuck with you from your visit to the exhibition? Any lingering or new thoughts?
Kerry James Marshall’s Souvenir I always makes me cry. It was also fantastic to see Robert Colescott’s work in person, as I’ve been thinking about it a lot lately. I love the way it engages stereotypes and recasts history so playfully and comically. In a different way than Mickalene, there’s trickery in acknowledging the audience’s gaze—that’s something I’ll be thinking over for a while.
Morgan Parker is the author of There Are More Beautiful Things Than Beyoncé and Other People’s Comfort Keeps Me Up at Night. In 2019, a third collection of poems, Magical Negro, will be published by Tin House, and a young adult novel will be published with Delacorte Press. Her debut book of nonfiction will be released in 2020 by OneWorld. Parker is the recipient of a 2017 National Endowment for the Arts Literature Fellowship, winner of a Pushcart Prize, and a Cave Canem graduate fellow. She is the creator and host of Reparations, Live! at the Ace Hotel. With Tommy Pico, she co-curates the Poets with Attitude (PWA) reading series, and with Angel Nafis, she is The Other Black Girl Collective. She lives in Los Angeles.
– Chelsea Werner-Jatzke, Content Strategist & Social Media Manager
2. A master of many mediums—Marshall has made work in collage, drawing, murals, and even comic books.
3. Marshall created Rythm Mastr in reaction to the absence of black superheroes in comics growing up. His comic book series features black superheroes with powers derived from gods in the Yoruba pantheon.
4. The first time Marshall saw an original artwork was on a field trip to LACMA in the sixth grade.
5. Black social realist painter Charles White was a mentor to Marshall who considered seeing White’s studio for the first time “a life-altering experience.”
6. Marshall considered a career in children’s book illustration.
7. Ralph Ellison’s novel The Invisible Man inspired Marshall to make his painting Portrait of the Artist as a Shadow of his Former Self.
8. Painted in 1980, two years after Marshall’s college graduation, Portrait of the Artist as a Shadow of His Former Self was the first painting he ever made of a Black figure.
9. Marshall received the MacArthur “Genius Grant,” for exceptional merit and creative works.
10. He knew in kindergarten he wanted to be an artist after his teacher Mary Hill showed the class a scrapbook full of greeting cards, pictures, and other imagery.
Don’t miss Marshall’s work in Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas. These three artists are shaped by distinctive historic events, unique in style, and united in questioning the narratives of history through Black experience. On view until Sunday May 13!
– Nina Dubinsky, Social Media Coordinator
Image: Installation view Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, Seattle Art Museum, 2018, photo: Natali Wiseman.
“So often Black women are made small and the idea of expanding into an exhibition that is so large and so inviting and welcoming is incredible and awe inspiring to see a reflection of myself so large in the world.” – Imani Sims, poet and Central District Forum for Art and Ideas curator
Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas is a chance to reflect on your personal history as well as art history and American history. Take a tip from our Personal Histories video series and spend some time at SAM thinking about how you connect to the work on view because of the history that impacts you. Figuring History brings together three generations of contemporary American artists, whose work challenges a Western painting tradition that underrepresents people of color. The vibrant and monumental paintings by these artists offer bold perspectives on Black culture and representation. Presented together for the first time, the figurative paintings of Colescott, Marshall, and Thomas are shaped by distinctive historic events, unique in style, and united in questioning the narratives of history through Black experience. The exhibition closes May 13, so don’t delay!
Looking for more videos related Figuring History? Check out Youtube to hear from the artists!
“Storytelling is very important in hip-hop and I feel like with [Kerry James Marshall’s] pieces that he has in this room, he’s taking the stories and interpreting it in his way and then also giving the next generation something to look at.” – Stasia Irons, rapper and KEXP DJ
“I immediately recognized what I was seeing as happening in my own neighborhood back home in Mississippi.” – Marcellus Turner, City Librarian of Seattle Public Library
Brangien Davis of Crosscut talks with Victoria Haven about Banner Year, an installation in the windows of her South Lake Union studio that beams out messages to passing motorists like “MONEY BALL” and “CULT CLASSIC.”
“’We can say, let’s look at this artwork and appreciate the work that the artist has done to create this, but let’s use a contemporary lens to unpack where these artists were coming from and why they painted the work in this manner,’ said curator Faith Brower. ‘Thankfully our views have now changed over time so we can see this work and critique it in a way that they weren’t capable of critiquing it in the time it was made.’”
“Such was the reality of German and Austrian art, and German and Austrian society, in the initial years of Nazi rule: the awkward coexistence of fascists, democrats and Communists, who heard the rhetoric, who witnessed the hatred, but who still could not see how much horror lay ahead.”
In February, as I prepared to enter the Seattle Art Museum for the Community Celebration for Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, what seemed like endless thoughts swirled around in my mind. It was Black History month and opening weekend for the movie Black Panther— the joy and exuberance of Black culture was palpable in the air.
This was in stark contrast to just over a year earlier, when the collective anguish and discontent of Black society was reeling in the wake of the latest barrage of Black bodies murdered in the streets and broadcast in ‘real time’ for all to view. I still recall the gut-wrenching emotion of watching a Black father, murdered in his vehicle, minutes away from where my own father lived. I remember this pain so vividly because it was not the first time I’d felt it. It was not the first time the Black community watched their brothers, fathers, and sons murdered at the hands of those sworn to protect and serve. It was not the first time we were dehumanized in the public theater. It was not the first time we were criminalized for being. It was history repeating itself.
The weight and memory of historical trauma accompanied me into the museum, tugging at my coat with each breath of Black excellence I inhaled. As I stood in gratitude for Mickalene Thomas, Kerry James Marshall, and Robert Colescott, I also stood in sorrow of the circumstances that produced such beautiful stories and art. In each historical work I found traces of my own story. In Colescott’s Matthew Henson and the Quest for the North Pole, (pictured at the top of this post) the images of Black bodies being simultaneously brutalized and fetishized depict the story of my great-great-grandmother who was raped by her oppressor, giving birth to my great-grandfather who would later be praised for his “passable” complexion, wavy hair, and light eyes. Marshall’s Souvenir II portrays a cloud of witnesses, prominently featuring Martin Luther King Jr. and John F. Kennedy, hallmarks in the home of my own, and many other Black grandmothers across the country, and emblematic of the complicated socio-political relationship we share with this nation.
In Thomas’ Resist, the Civil Rights era struggle of my parents was laid in front of me through a collage of violent vignettes. As I watched this piece I saw my uncle’s resistance, which left him brutally beaten and jailed for having the audacity to seek a human existence. I also saw my father and his siblings, the first to integrate the school systems in North Carolina. I felt the collective fear and courage he carried with him as the only Black student in his school. And as my chest tightened, breath shortened and fists clinched I remembered where I stood—rooted in the past, squarely in the present, carrying my portion of the mantle of Black excellence. As I gathered myself, I walked out of the museum breathing in the joy and exuberance of Black culture. Each breath gradually healing the wounds of my genetic trauma.
– Benji Anderson, Artist (@benjipnewton)
Benji Anderson is an artist, theologian and philosopher. Three identities that suffered separate existences for much of Benji’s life. Born in the South and raised in the Mid West, his early cultural learnings taught Benji that it was not only prudent, but necessary to compartmentalize his identities. Surprisingly it was through his academic journey that Benji began to fully exist as a being capable of complex, and seemingly contradictory identity. As a Master of Divinity student, Benji embarked on a process of deep self-excavation, which, upon completion of his degree, provided Benji with the license to live authentically.
As theologian and philosopher, Benji is concerned with the quality and depth of life. As artist, Benji concerns himself with the creative expression of his theosophical existence. Using a variety of mediums Benji endeavors to create multi-sensory pieces that thrust the viewer into the experience of the artist – not simply as a voyeur, but as a participant.
“If your heart is in the right place, if you put in the work, and have the diligence to be the best at your craft, and people can see that, they’ll want to help you. When I do my job better, people get to interact with the arts better, so that demands that I rise to the occasion because there’s a lot of other people’s work on my shoulders that I don’t want to disappoint.”
“We have a very particular way of relating to objects,” she notes. “They can generate emotion. They can literally transport you to the moment in which you received the object. Or they can tell you the story of your whole family or of your whole culture.”
This week, on April 4, marks 50 years since the assassination of Martin Luther King, Jr., in Memphis. The New York Times asks what the National Civil Rights Museum at the Lorraine Hotel can tell us about this moment.
“What they’ll find in its permanent collection is a monument to a movement and, secondarily, to a man, in a display that focuses on difficult, sometimes ambiguous historical data more than on pure celebration. And they’ll find, if they are patient, useful information for the 2018 present, and for the future.”
“Did somebody mention ART?” Art history + celebrity culture = genius.
– Rachel Eggers, SAM Manager of Public Relations
Image: Installation view Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas at Seattle Art Museum, 2018. Photo: Natali Wiseman
“One thing I always try to do in my choreography is to make the dancers as human as possible. I want the audience to be able to relate to them as people, as opposed to classical 18th-century ballet figures.”
“It hurts because those Birmingham girls, often commemorated in what look like class portraits, could have been goofy, self-conscious, bookish, or disobedient. Maybe they didn’t even want to go to church that day; maybe one had a sore throat. They were kids.”
Margo Vansynghel of City Arts lauds the exhibition’s “dazzling brilliance” in her review, which includes interviews with both Kerry James Marshall and Mickalene Thomas, conducted while the artists were in Seattle for the opening.
“…filled to the brink with visual sumptuousness. Chambers to remember. Spaces filled with Black joy and Black books. Behind every corner, there’s texture and depth, and dazzling brilliance.”
In what’s definitely the most fascinating interview I read this week, Artnet spoke with Arthur Jafa about intersectionality, blackness, and “not going for ‘good.’”
Hyperallergic reviews the Monarchs exhibition, now on view at the Bemis Center for Contemporary Arts, which features work by “people native to the Americas,” including Jeffrey Gibson, Nicholas Galanin, and Wendy Red Star.
What DOES one get Rihanna on the occasion of her 30th birthday?? One artist decided on this.
– Rachel Eggers, SAM Manager of Public Relations
Photo: Installation view of Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas at Seattle Art Museum, 2018, photo: Stephanie Fink.
“Originally, I wanted to create an old history painting with old buildings, tailors, saloons and so on. I decided not to. Instead, I re-staged the scene in a contemporary setting, with the light rail track, skyscrapers, traffic signage nearby. To say, we are repeating history. Literally.”
“Untitled (1982) is built to be what it has become, a high-energy icon that can spread easily as a media image. But at the same time it also whispers that it doesn’t want to be reduced to just that; it doesn’t just want to be looked at, it wants to be seen.”
The Stranger put together a list of all the best Black History Month events: SAM exhibitions Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas and Sondra Perry: Eclogue for [in]HABITABILITY both make the cut.
“It’s often difficult to know which way up a painting should be.” A Morris Lewis painting at the Jewish Museum is on view with a new name—and a new orientation.
Joyce J. Scott’s sculptures, quilts, and necklaces are on view in her most comprehensive exhibition to date at New Jersey’s Grounds for Sculpture; one of the exhibition’s curators is Lowery Stokes Sims, who contributed an essay to the Figuring History catalogue.
“’My work is politically and socially oriented because that’s what keeps me up at night,’ Scott added. ‘It’s important to me to use art in a manner that incites people to look and carry something home — even if it’s subliminal — that might make a change in them.’”
February also brings the return of Seattle Museum Month, during which visitors to participating downtown hotels get half-price admission to area museums (including SAM!). For that, Travel + Leisure and Architectural Digest both included Seattle among their winter travel recommendations.
“There’s nothing that I’ve created in the gallery that’s more horrifying than what’s outside those doors. The lynchings have not stopped, they’ve merely changed forms—from rope to guns. I created a new piece called ‘You Might be Disturbed by Images Beyond This Point.’ I’ll place it at the exit of every gallery I show at, because I can’t make anything more disturbing than reality.”
“Look at it this way: A film like The Commuter, which must not be missed, is your fat-rich steak, and a movie like Bergman’s Through the Glass Darkly or Silence or Persona is your broccoli. You just can’t eat steak all of the time. You will die from just eating steak. You need your veggies. You can almost live forever on a diet of just films of the great Swedish director Ingmar Bergman.”
“Le déjeuner sur l’herbe: Les Trois Femmes Noires (The Three Black Women), part of a new group exhibition at the Seattle Art Museum, depicts the subjects in a mosaic of vibrant colors, fragmented shapes, rhinestones and glittered Afros. ‘These women are so grounded and perfectly comfortable in their own space,’ says Catharina Manchanda, a curator at the museum. ‘While we might be looking at them, they are also sizing us up.’”
“When I meet her in the darkened gallery, she speaks softly and fast, her ideas and sentences tumbling over each other like waves without arrest. One can find a similar sense of intellectual excitement and multiplicity in Perry’s work.”
The winter edition of the Stranger’s Art & Performance Quarterly is out! Zoom in on Winter 1946, a painting from Andrew Wyeth: In Retrospect, in their recurring “Anatomy of a Painting” feature.
“[It] is not only about looking at black women, it is about them observing the world around them and finding their place in it, and even amidst the trials and tribulations waged against them, finding ways to rejoice.”
Noted architect Tom Kundig leads a tour of the best Seattle architecture in this CNN Travel video; the Olympic Sculpture Park is one of his picks.
We enjoyed this Architects Newspaper salute to Denise Scott Brown on her 85th birthday; in which they share notable stories of her general awesomeness. Scott Brown—along with her partner, Robert Venturi—designed the original Seattle Art Museum that opened in 1991.
“There’s a million ways to be a woman. There’s a million ways to be a mother. And there’s a million ways to be an architect.” –Denise Scott Brown.
Watch this lovely KCTS tribute to ceramicist Akio Takamori, featuring interviews with his former UW colleagues and students, including Patti Warashina and Jamie Walker. His Blue Princess (2009) is currently on view at SAM.
“This major career survey of the American artist who bucked every ‘-ism’ of the late 20th century to follow his own distinctive path in figurative art looks like a stunner. SAM curator Patricia Junker has assembled 110 works by Wyeth for the show and written an impressive-looking catalog that digs deep into the accomplishments of the painter on the 100th anniversary of his birth.”
And Seattle Met’s October print edition recommends In Retrospect as one of their picks for the month, noting the “profound emotional stakes underneath all the quotidian realism” found in Wyeth’s work.
“’These films have so much charisma, so much dark, wicked glamour to the way the stories are told and visualized,’ said SAM film curator Greg Olson, who has curated the series since its beginnings in the mid-70s. ‘It’s kind of intoxicating.’”
Seattle Weekly’s Minh Nguyen reviews the “luminous, underrated” media art of Doris Totten Chase, now on view at the Henry.
Last Friday, SAM announced that Molly Vaughan is the winner of the 2017 Betty Bowen Award; The Stranger and Seattle Gay Scene shared the news. Deborah Lawrence and Ko Kirk Yamahira also won Special Recognition Awards. Join us for a free award ceremony honoring all the winners on Thursday, November 9 at the Seattle Art Museum. Vaughan’s installation premieres at SAM on April 21, 2018.
UW’s School of Art + Art History + Design and the Jacob Lawrence Gallery announced this week that artist C. Davida Ingram is the recipient of the 2018 Jacob Lawrence Legacy Residency. Go, Davida!
This fall, the Office of Arts & Culture brings you the Seattle Center Sculpture Walk, featuring eight temporary installations—including one from our recent Emerging Arts Leader Intern, Kalina Chung. Go, Kalina!
Hyperallergic on We the People, now on view at the M in Minneapolis, featuring “pieces that grapple not only with American identity but with an all-out call for revolution.” Molly Vaughan is one of the exhibition’s artists (hey, we know her!).
Could be that first bit of fall chill in the air, but I enjoyed this Artnet article—inspired by a show on view at Bowdoin College Museum of Art—on the art historical roots of memento mori.
Ezra Jack Keats’s bestselling children’s book The Snowy Day has charmed generations—and now its hero, Peter, will be featured on U.S. Postal Service Forever stamps.
Crayola debuted “Bluetiful,” its new hue inspired by chemist Mas Subramanian’s accidental pigment discovery. Bliss out on the magic of crayon-creation with this Sesame Street throwback.
“’Initially, she thought she wanted to go to Paris because up until World War II, Paris was the center of the art world,’ SAM’s curator Catharina Manchanda tells Artspace. But then, Kusama stumbled upon a painting by Georgia O’Keeffe—and everything changed. She went to the U.S. embassy in Tokyo, got a mailing address for O’Keeffe, and sent the artist a stack of drawings with a letter asking for advice on how to get to the United States. ‘At the same time, she also wrote to Kenneth Callahan, a member of the school of Northwest Modernists in Seattle,’ says Manchanda. ‘Luckily, Callahan wrote her back a welcoming letter and introduced her to Zoë Dusanne, an art dealer in Seattle who offered her an exhibition.’ So, Kusama moved to Seattle, and the rest is art history.”
Seattle Weekly profiles SAM’s three-times-a-year event Remix, now in its tenth year. Members of SAM’s Education department—Regan Pro, Philip Nadasdy, and David Rue—are quoted throughout along with choreographer Dani Tirrell, who presented excerpts from the forthcoming Black Bois in this edition:
“’My experience with SAM has been one that they are always pushing conversations forward,’ he told Seattle Weekly. ‘They bring in art and artists that are relevant to the times we live in. SAM does not shy away from things that may make people uncomfortable, and I think that is how they are able to engage with what is taking place in Seattle.’”
And here’s Margo Vansynghel for CityArts on BorderLands, on view through October 29 at King Street Station (go!).
“With such poetic, poignant offerings, BorderLands deals with nationalism, allegiance and resistance. The most arresting works on show tackle the flippant use of language—words often thrown around carelessly since last Nov. 8. What do these signifiers mean to the people who saw their land stolen, to the new arrivals in a nation of immigrants and, finally, to the art world? Some of the most impressive works on view—including Feddersen’s and Kahlon’s—ultimately question the enduring complicity in a system that feeds and sells us a too-easily digestible and unchallenged story about identity.”
The New York Times’ Holland Cotter reviews the Pulitzer Arts Foundation’s Blue Black exhibition; curated by artist Glenn Ligon, it includes works by Kerry James Marshall, Lynette Yiadom-Boakye, and David Hammons (all represented in SAM’s collection).
A new study reveals that your Instagram “may hold clues to your mental health.” (Wait, was does excessive use of the Amaro filter mean??)