Muse/News: Calder Gifts, April Theater, and Ancient Fabrics

SAM News

Last week, SAM had exciting news to announce: Thanks to the generosity of Jon and Kim Shirley, one of the most important private collections of Alexander Calder’s artworks will make its way to SAM!

The gift of the Shirley Family Calder Collection includes 48 of the iconic American sculptor’s works and is supported by a $10 million endowment and an annual financial commitment to support Calder-related exhibitions and research. Maximilíano Durón of ARTnews and Margo Vansynghel of The Seattle Times broke the news on Tuesday morning, including a front page appearance. The Art Newspaper, Geekwire, Artdaily, and local TV and radio were all among those who joined the chorus. 

Stay tuned for November, when the inaugural exhibition of all 48 works goes on view! Until then: there’s so much to see at SAM, including Ikat: A World of Compelling Cloth, on view through May 29.

For Seattle Magazine, Sean Meyers explored “100 Years Of Seattle Modernism” in architecture and design, including Jim Ellis Freeway Park, the William B. Tracy House, and, of course, the Olympic Sculpture Park designed by Weiss/Manfredi in 2007.

Local News

Via the City’s Art Beat Blog: Seattle’s Office of Arts & Culture is in the midst of a national search for its next director. Read up about what they’re looking for in this critical role and share your thoughts via the community survey link at the end.

Crosscut’s Nimra Ahmad invites you to “meet 3 young PNW writers”—Azura Tyabji, Sah Pham, and Matthew Valentine—in honor of National Poetry Month.

The Seattle Times’ Jerald Pierce has you covered with “6 theater productions to add to your April calendar.”

“…you’ll have a chance to take a trip down the yellow brick road, make an appointment with a demon barber or perhaps watch as a group of actors tries to tackle Shakespeare without knowing which character they’ll play until the night of the performance. You’ll also be able to see carefully crafted conversations centered on a collegiate debate, mixed-race relationships and the legendary August Wilson’s life.”

Inter/National News

Via Artforum: RIP to photographer Kwame Brathwaite, who died last week at the age of 85. In his work, he popularized the phrase and idea of “Black is beautiful.”

Also announced in ARTnews last week: the 171 scholars and artists who will receive 2023 Guggenheim Fellowships

Via Artnet’s Min Chen: A piece of fabric discovered in a peat bog 40 years ago has finally been analyzed and revealed to be the “world’s oldest piece of tartan,” dating back to the 16th century. (Fun fact: a fragment of Peruvian ikat on view at SAM dates back to the 9th century!)

“‘The Glen Affric tartan is clearly a piece of national and historical significance. It is likely to date to the reign of James V, Mary Queen of Scots, or James VI/I,’ said John McLeish, chair of the Scottish Tartans Authority. ‘There is no other known surviving piece of tartan from this period of this age.’”

And Finally

Marian Anderson sings at the Lincoln Memorial on Easter Sunday 1939.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Jon and Kim Shirley with Mountains (1:5 intermediate maquette, 1976). © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photo courtesy Jon and Kim Shirley.

Poet Morgan Parker on Mickalene Thomas, Beyonce, and Figuring History

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

Images: Photo courtesy of Morgan Parker. Photo by Nina Dubinsky. Video: Tamika sur une chaise longue avec Monet, 2012, Mickalene Thomas, Sydney & Walda Besthoff, Courtesy of the artist and Lehmann Maupin, New York and Hong Kong, © Mickalene Thomas. Photo courtesy of Morgan Parker.
SAMBlog