Via 425 Magazine: “Local Creative Pros on the Northwest Places That Make Them Swoon.” Architect Jim Graham admires how the Olympic Sculpture Park’s PACCAR Pavilion “mixes seamlessly and beautifully with the landscape.” And interior designer Kirsten Conner appreciates the Seattle Asian Art Museum’s original Art Deco design and 21st-century update (she even had her wedding reception there!).
“Butler moved here from Southern California in 1999. She bought a simple but cozy-looking house at the top of a hill and near three things she could not live without: a nearby bus stop, a nearby bookstore, and a nearby supermarket.”
“‘We discovered women artists using boxing as a shorthand for victimization or an idea of empowerment. The fact that the boxer was like a Schroedinger’s Cat… both a winner and a loser,’ is a through line of the show, said [curator Sara] Cochran.”
This July marks my one-year anniversary at SAM and June was my first Pride in Seattle. I even had the honor of walking the parade with the city’s Consulate of Mexico. As a gay professional of Mexican descent, this is all a big deal for me!
In my role as the museum’s deputy director for art, I work among so much art, and every day I’m actively discovering captivating items within the SAM collection. Thinking about LGBTQ+ artists, I was surprised to learn that the collection has a print of The Fleet’s In (1934) by gay artist Paul Cadmus. He created this work on paper in response to the censorship of his painting of the same subject. In it, a raucous group of sailors enjoy shore leave while in Manhattan. The original painting, commissioned through the Public Works of Art Project (PWAP) during the Great Depression, caused quite a stir in its day. So much so that it was removed from view for what Naval officers and critics considered “outrageous” for the behavior depicted in the work: the figures, many from the LGBTQ+ community, merrymaking with the featured service men. A queer celebration appropriate for Pride Month! The original painting is part of the Met’s collection, and you can learn more about it here.
To this day, the painting has had limited exposure but it is well known within queer art history. The print version, like the one in SAM’s collection, is important because it was intentionally created by Cadmus in an act of rebellion to disseminate the image and prevent its censorship. He would even credit the uproar with making his work more well known during his life. The work may have garnered a negative response, but the image itself carries gay culture, much of it coded and strategically placed by Cadmus, during a period when homosexuality was illegal. The print at SAM is interesting because it was gifted to the collection in 1944 by the founder of our museum, Dr. Richard Fuller. Could he have known about its notoriety and importance before gifting it to the museum? To more surprise, we also have a 1937 photographed portrait of Cadmus by Carl Van Vechten in the museum collection.
Reflecting on the collection during Pride Month, I sought other queerness currently on view in SAM’s galleries and by gay artists. Pop artist Andy Warhol has a strong presence in the museum; he even came to the museum for a solo exhibition in 1976. His large painting of the musician Elvis Presley as a young gunslinger heartthrob immortalized in silver is not only a reference to the future but to the reflective aesthetic of his famed studio the Silver Factory. It was an inclusive space for its day and a beacon for anyone who felt different, including members of the LGBTQ+ community. Some individuals who stood out even took on a role as “Superstar” of the Factory for their beauty, personality, or talent. While Warhol’s universe tended to focus around himself, his impact on popular culture included making queerness more visual, and many artists today follow in his footsteps.
Everywhere you turn, the museum also has a younger generation of queer artists on view: Mickalene Thomas’s large bedazzled painting, Chicano artist Laura Aguilar’s evocative and haunting black-and-white photography, Native American multidisciplinary artist Jeffrey Gibson’s beaded punching bag with the phrase “If I Ruled the World” in colorful plastic beadwork, Jacolby Satterwhite’s projected video work about his mother and Ballroom culture, Kehinde Wiley’s portrait featuring a Black subject in a classical style and Nick Cave’s maximalist soundsuit. There’s a recent acquisition by Naama Tsabar, an Israeli artist (and friend) whose practice includes intimacy and contact through the tactile materials that she uses, sculptures she builds, and evocative sonic performances. In my previous role at The Andy Warhol Museum, I hosted a performance of hers in conjunction with the exhibition Fantasy America. Titled Stranger, it comprised a double-sided guitar and two nearly physically identical women (the artist and Kristin Mueller) struggling through a non-verbal but acoustic conversation. Many of these artists I have followed for years and have even met. Having them in the collection is so inspiring and special for Seattle.
Although marginalized peoples enjoy this honorary month of acknowledgement, the support in this city is ongoing and Pride Month felt the most festive during a time of nationwide hate and oppression against LGBTQ+ people. In addition, I’ve met so many people, including colleagues at SAM, who are also part of the community or dedicated allies. We work across many departments in the museum and it’s clear we really care about the community in Seattle. Pride Month has passed, but the visibility and support of LGBTQ+ artists has and will continue at SAM.
– José Carlos-Diaz, SAM Susan Brotman Deputy Director for Art
“I find the body an interesting repository for different changes,” Di Pietrantonio said. “Many artists are really thinking about … [the] emotion of the body and expanding the body as part of the landscape or rethinking the parameters of the body. I felt that the body and thinking about emotions was very important to connect to activism.”
“To me, this opportunity comes in the middle of the pandemic, in the middle of API (Asian Pacific Islander) hate, you have January 6,” he says. “It is about ‘what are you going to do in this moment?’ The cultural capital, the social capital (of the Wing Luke) is the Batmobile. What is going to happen in the next year? It is going to take strong institutions like Wing to get through this.”
“As a woman artist on the cutting edge of her field, Cunningham’s story is an important one to tell,” says Carrie Dedon, SAM’s Assistant Curator of Modern & Contemporary Art. “She undertook artistic collaborations with Ruth Asawa and Martha Graham, and I hope viewers leave not only with an understanding of Cunningham’s innovation and experimentation, but also her collaborative and charismatic spirit.”
“‘There’s so much evidence that she embodies the ethos of a Seattleite—being adventurous, being a free thinker and really embracing nature. And being such a gutsy woman so early on,’ says Elizabeth Brown, an expert in the history of photography, UW lecturer, and former chief curator of the Henry Art Gallery.”
“‘Contributing to the rise and the presence of African American choreographers, to me that is the big legacy. Dani worked tirelessly. I don’t know what’s going to happen with all of that now that dani’s not here,’ said Donald Byrd, artistic director of Spectrum Dance Theater.”
“As a Black artist, I want that freedom and liberty for people to experience my painting on their own terms, with or without having a built-in, overly structured narrative of the Black plight attached to it.”
“[Mary Ann Santos] Newhall noted that just as languages can be lost from oral tradition, dances can likewise disappear. ‘It has to be passed on from body to body, or we lose our language.’ she said. ‘What Hannah [C. Wiley] is doing is preserving our language of dance.’”
“The performance can be understood as artistic consciousness-raising, which has been one of two main historical rationales for eco-oriented art (the other being more direct environmental remediation). Yet it’s a quite particular kind of consciousness-raising, one that offers sensory immersion rather than abstract information.”
SAM is temporarily
through the end of March, to help limit the spread of COVID-19 and protect the
community. To keep connecting you to art, we have launched Stay Home with SAM, with regular
emails sharing videos, interviews, and art news from SAM Blog. Join us!
“’This is 9/11
meets The Great Recession meets the snowstorm,’ Randy Engstrom, director of the
city’s Office of Arts and Culture (OAC), said during an online public meeting
Tuesday afternoon. ‘We know we’re going to get through this together — and this
is our time.’”
How Can We Think of
Art at a Time Like This? asks a just-launched online exhibition from writer-curators Barbara Pollack and Anne
Verhallen, recruiting artists and building a website over 48 hours.
“‘It’s always been
an intriguing contradiction between how important art is and how trivial it can
be at the same time,’ said Pollack. ‘When crises come up, I think it’s a
question we all ask ourselves…There is always something going on in the world
that seems to overshadow creative effort, and yet it’s so important for
creative effort to continue.’”
“Within the piece,
I was more mindful of my steps because of the way the mesh was ever so slippery
beneath my boot. I became aware of a slight unease at being so close to a
skylight I’d admired from the concrete floor below.”
Paul Laster writes about Do Ho Suh’s work for White Hot magazine, including past presentations at SAM and his theme of displacement. The artist’s Some/One will be a centerpiece of Be/longing at the Asian Art Museum.
conversation, Gates seems to envision a city-sanctioned and -funded memorial.
‘I want to believe that the city is open to it,” he said. “I believe Samaria
has the right to ask the city to receive this sacred space.’”