Hear artist Preston Singletary talk about the imagery in his work and how he uses the medium of glass to reconnect and reinterpret traditional Tlingit art and culture.
In addition to being a visual artist, Preston Singletary is a musician and member of Khu.éex’, an Indigenous band. The band focuses on bringing awareness to social issues affecting Indigenous communities and keeping tribal culture and endangered ancient languages alive through music, storytelling, and art.
Listen to a Khu.éex’ song. As you listen, think about the story being told through the song and how this might be visually represented in Keet Shagoon.
Excerpt from”Khu.éex’: the Magic of Noise” by Heartstone Studios.
Watch this clip of Singletary describing how his glass art flows like music.
Singletary was inspired by YéilX’eenh (RavenScreen), which hangs in SAM’s galleries across from Keet Shagoon. YéilX’eenh (Raven Screen) is an interior house screen like those that can be found in the clan houses of the Tlingit tribal community. These screens separate the chief’s quarters from the rest of the clan house. The small hole in the middle of the screen acts as a portal that is used by the chief to make dramatic entrances when entertaining guests or at potlatches. The imagery on the screen depicts a family crest—in this case, it depicts Raven.
How are these artworks similar? How are they different? How are the materials the artists use different? What could these continuities and departures tell us?
Both Keet Shagoon and YéilX’eenh use formline design, a stylistic approach that serves as the foundation for designs by artists from central British Columbia to southeast Alaska. Objects like animals or people are depicted with one continuous outline, called a form line, and then filled with different shapes that represent anatomical details like eyes, wings and fins, thus creating positive and negative space within the delineated object.
Formline designs are typically made up of four basic shapes. See how many you can identify in both the contemporary artwork and the traditional artwork the next time you visit SAM.
I would like to acknowledge that the museum sits on the Indigenous land of the Coast Salish People in and around the city of dᶻidᶻəlalič (renamed Seattle for Chief siʔaɫ).
My work is a response to the ways in which photography has been used as a mechanism of colonization. Decolonizing photography for the use of American Indians has to occur through the articulation of a Native representational subjectivity. In the place of colonizing representation, I want to produce images and sensory experiences that convey representation of, by, and for American Indians.
– Will Wilson
Since 2012, Will Wilson has put cultural sovereignty at the root of image-making events he calls the Critical Indigenous Photographic Exchange (CIPX). The thousands of images created over the course of this project now comprise the largest Indigenous created archive of images of Native peoples. These photo sessions—in which Wilson uses an old wet-plate technology to produce tintypes—are held in tribal communities and at urban institutions such as museums. Wilson’s CIPX event at the Seattle Art Museum, which took place in November 2017, centered on capturing the rich complexity of Native peoples living in the environs of Seattle, members of local reservation-based tribes, and “urban Indians” who came to Seattle from other places. Wilson invites anyone who wants to be photographed to present themselves however they want—wearing what they choose, holding objects that are important to them, and posing to their liking. As part of the exchange, he gives the tintype to the sitter while asking for permission to digitize the image for use in large-scale prints, like the work in SAM’s collection, K’ómoks Imperial Stormtrooper (Andy Everson). It is an amazing process to witness and reminds us that, for those who take authority over the processes of representation, methodologies and interpersonal exchanges matter.1
The sitter in this portrait is K’ómoks First Nation’s artist Andy Everson. His recent work draws from his two passions: Indigenous art and Star Wars. He transformed the stormtrooper into a positive figure by doing away with the uniform’s whiteness and covering it with formline designs. Everson wanted to change the stormtrooper from someone who blindly follows instructions from his higher-ups to someone who is able to take action for himself and for his own people. And so began this idea of the West Coast warrior, a defender of the land.2
Chilkat weavers were the inspiration for Everson when he created the Northern Warrior (2015), with its distinctive yellow, blue, white, and black colors. He also replaced the stormtrooper’s helmet with a traditional conical hat, made out of maple wood that his ancestors in Alaska would have worn.3 Many of his ancestors were warriors, and when their territory was threatened they did not hesitate to defend themselves. When they entered battle, they wore slatted armor suits and hard wooden helmets carved with their crest, proudly representing their ancestral lineage. The hat on this helmet displays the Kwakwaka’wakw crest of the sisiyutł—the double-headed serpent. This symbol of the warrior reminds us of the dichotomies in life—good and evil, right and wrong—and puts a human face in the middle to teach us that we must choose where we stand.4
Everson’s stormtroopers tell a story to both Indigenous and non-Indigenous peoples about the importance of a warrior spirit. The works speak to the histories of Indigenous resistance and defiance in opposition to colonizing forces, and the importance of remaining steadfast in the face of adaptation and change.5 Like Wilson’s CIPX series, Everson’s stormtroopers draw people in with its familiar figure and invite people to engage with an art form, perhaps unfamiliar to some, that ultimately fosters a new kind of cultural exchange.
Speaking of stormtroopers, don’t miss the premiere of The Mandalorian season two on October 30. Will we find out Baby Yoda’s origin? Are there more of them? I hope so, and I hope you all have a safe and happy Halloween!
“I would like to see the baby.” – The Client, The Mandalorian
– Tina Lee, SAM Exhibitions and Publications Manager
“The real magic of Carpe Fin is in the space between the object and the observer.”
– Michael Nicoll Yahgulanaas
Hear from the artist behind the 6 x 19–foot watercolor mural commissioned for SAM. Haida artist Michael Nicoll Yahgulanaas describes Carpe Fin as “Haida manga.” This unique approach developed by Yahgulanaas blends several artistic and cultural traditions, including Haida formline art, Japanese manga, Pop Art, and graphic novels.
Inspired by a traditional Haida oral story, the story is also linked to a 19th-century headdress in SAM’s collection carved by Yahgulanaas’s relative, Albert Edward Edenshaw. Carpe Fin calls attention to issues of environmental degradation and the rupture of the values that honor human-nature interdependence.
We asked SAM staff to reflect on the work and what stood out to them by answering which panel impacted them most. Have you seen the artwork at SAM or read the book? Read some reflections below and share your thoughts with us in the comments!
The very center panel—it’s more free form so it draws the eye. It’s the moment when Carpe realizes he’s been left behind on the island. His phases of expression and gesture really struck me.
The central panels—frames break down, creative topsy-turvy!
The third panel (upper center) for the transition from the human to the underwater world. The contrast of thick, thin, and detailed brushwork make it come alive.
The middle panels stand out because of the dynamic between the sea lions and humans. There’s a chaotic structure that reminds me of the circle of life, but it also shows an imbalance.
The central panel and how it just seems to come alive and break out of the typical comic book boxes/outlines; the overall image captivates your attention and makes you want to keep looking at the intricate, smaller details.
I was most impacted by the panel in which Carpe swims back wearing sewed-up seal skin. There is something about embodying the animal that he had been killing. I wonder how much the message of “you’re killing our women” would have sunk in without this physical experience or if he would have heard it in a different way?
I’m most impacted by the panel where the young boys kill a flicker. This senseless, purposeless killing of a living thing in a microcosm of the imbalance and lack of respect for the environment that has created dire circumstances for this community and communities across the globe. The energy that youth are bringing to climate activism lies in contrast to this detail and gives hope for the future. We all need to take responsibility and enact laws and regulations that will ensure the survival of future generations.
“I think many people may not know all of the stories behind these objects. They’re not just an image, they’re an object and they’re an object that’s been in use.”
– Jeffrey Gibson
Artist Jeffrey Gibson discusses the sculptural and metaphorical interest of this human-form neck ring used as a piece of dance regalia in Hamat’sa ceremony. Made from cedar and bark, this sculpture is installed hanging as it would be worn around the neck of a dancer. Consider the sound that it would make when activated by movement and the ceremony that it is part of the next time you visit SAM’s Native Art of the Americas galleries.
Artwork: “Bagwikala (Human Being Neck Ring)”, ca. 1910, Mungo Martin (Nakapankam), Kwakwaka’wakw, Kwagu’l, Fort Rupert, British Columbia, ca. 1884–1962, red cedar bark, yellow cedar, paint, human hair, 68 x 12 x 6 in. (172.72 x 30.48 x 15.24 cm), Gift of John H. Hauberg, 83.241. Music: Natali Wiseman.
Your next chance to experience the Olympic Sculpture Park through the Indigenous lens of SAM’s winter resident is tonight, February 27 from 7 to 9 pm! Architectural designer and artist Kimberly Deriana (Mandan/Hidatsa) has spent the last two months working in the park researching, offering workshops, and constructing a temporary installation. Deriana has used her residency as a space for sharing Indigenous knowledge surrounding the many uses of cattail materials. The temporary cattail and cedar structure she has created is a space where everyone is invited to gather and experience cultural celebration. The event will include performances by Aiyanna Jade Stitt and Hailey Tayathy, and storytelling and song by Kayla Guyett and Paige Pettibon.
Kimberly Deriana specializes in sustainable, environmental Indigenous architecture, housing, and planning. Deriana’s methodologies focus on incorporating Indigenous lifestyle practices in relation to past, present, and future, designing for the 7 generations. We sat down with her to learn a little more about her experience as SAM’s artist in residence and to learn more about her creative process.
SAM: What goals do you have for your residency at the Olympic Sculpture Park?
KIMBERLY DERIANA: I want to activate the park through an Indigenous lens. As an architect designer and somebody who loves urban design, I’ve been drawn to this park since I first moved here. Part of creating visibility is bringing other people along in the process and giving them opportunities, too. I really try to include people and families who have been doing this work for years while giving new urban Native people outlets in every project on which I work.
This residency is a learning opportunity for me; the way I enjoy learning is to involve others. It’s about the way we learn as a community, the way we make as a community, and the way we approach being in the world and sustainability. When you’re gathering cattails, there’s an appropriate time to gather and there are appropriate places to gather. Learning all of that protocol has been really eye-opening. Because I grew up as an urban Native and wasn’t always shown those protocols, I try to make a conscious effort to create space and time for the protocol knowledge as an adult.
Tell us about the workshops and youth that you
worked with to include Indigenous communities.
I’ve always done art and design but being in
the art scene is a new space for me; I wanted to explore the co-creation
process. Sharing resources is an important component of the process, I believe.
This space has a very educational, institutional vibe and it lends itself to
the scope needed for community workshops. The scale of the work required to
enliven the space needs many hands. The piece itself is practice and healing work.
The collaborators and I were here most
weekends in January and February. Since we are on Suquamish and Duwamish
traditional lands, one weekend we had Indigenous teachers from Suquamish. These
amazing women who are educators for and from their community—Tina, Jackson, and
Kippy Joe— and the amount of information and knowledge that they share in four hours is just indescribable. You
can’t get that on YouTube or from a professor. You have to experience their
oral teachings to begin to understand the richness and depth of the knowledge.
We had three Indigenous youth that day, and then we had a couple visitors just stop by who were interested in what we were doing. We had time to teach them and they got to learn. Every weekend I’ve had at least one Indigenous teen come in and help work with us through a partnership with yəhaw̓.
What are some of the historical uses of cattail mats?
In this region, mats were traditionally used as sheathing for summer structures. Mats are used all over the world, globally and indigenously for different surfaces. In the Plateau, Plains, Woodlands, and Southeast regions, mats are used for protection and warmth on their architectural structures.
Cattails have a multitude of uses. They protect us. When they’re just in the ground they clean the water and remove toxins. They can be food; they can be shelter; they can be water. When gathering cattails in the right spots, their uses extend beyond those listed so that one can understand the sustainability that the plant provides. Plant knowledge leads to understanding sustainability; sustainability leads to healing; healing leads to understanding their sacredness. I want everyone to know this.
I’m trying to make paper with cattails because
I think that’s a more respectful use of them since they were gathered in the
late fall season. I am super excited to do more scientific research on the
sustainability of cattails, learning more traditional knowledge about them, and
weaving. I realize you can approach a project and commit to working with a
material, but then all these other sacred teachings come up, such as how to work with other materials and plants.
It’s not homogenous when we’re learning about our plant relatives.
Why have some of the cattails been cut and
others left long and uneven?
As I started the process of creating this temporary installation with cattails some teachers said it was okay to gather now. When we made some mats, I knew they were not ideal materials and then, in the middle of the month, I learned that you should gather cattails at the end of summer for making mats. For this reason, some of the mats are trimmed and others are raggedy, in order to reveal the imperfection of the process. I like to break things apart until they become abstract, so that even though I’m using really traditional materials, the way I use them means you can’t necessarily tell what it is. For example, maybe your eye reads it as hair or as a bone or antlers. The raggedy mats—having them be more than one thing–helped convey that abstract concept. I think that process was kind of successful.
My architectural background makes me interested in exploring this building and wall system and I started to research and dissect like I normally do for a project. In architecture, you’re always researching and then drawing your theory. In art, you’re fabricating your theory. That’s when all this new information appeared to me. When you start to source your material and put it together, like, “This is why you have to harvest at a certain time and why you have to know where to gather and to get the reeds that are a certain height.” There are just all these little steps that make the process more efficient and that our ancestors knew and had good engineering minds for. I’m still doing it by trial and error and trying to find mentors.
The description of the temporary installation
mentions that the structure is a portal for healing. How is this present in the
work that is in the PACCAR Pavilion?
The sculpture forms a circular arbor and basket-like space. It incorporates some of the knowledge of the medicine wheel into the directions of the space and the layout. The teachings of the medicine wheel helps to orient our bodies with the land, plants and animals, nature and natural forces. In Plains tribes, you enter from the East like the sunrise. Here, in the West, a lot of structures face the water. All of the weavings that we made with Tina and Kippy are on that side and create filtered views to the water as much as possible since the water is so special. The North can reference the future, moving on, and death in some ways, too. The northern, open view gives people the opportunity to see that beautiful view of the park. The cattail threshold symbolizes a doorway into the future. A sustainable future holds the promise of healing.
– Chelsea Werner-Jatzke, SAM’s Content Strategist & Social Media Manager
Last week, SAM announced that Amada Cruz has been chosen as the
museum’s new Illsley Ball Nordstrom Director and CEO, succeeding Kimerly
Rorschach who is retiring in September. Brendan Kiley of the Seattle
Times had the exclusive. Brangien Davis of Crosscut
and Jasmyne Keimig of the Stranger
also both interviewed Amada.
“The publishing history of ‘No-No Boy’ is as important as the book
itself,” he said, remembering how he would sell copies of the original CARP
edition out of the trunk of his old Mustang in the 1970s. “To publish the book
without acknowledging that publishing history is publishing a very incomplete
Curated by RYAN! Feddersen and featuring art by Asia Tail and Fox Spears, we just had to stop by for more creative output from these artists who have also been involved with SAM during Double Exposure. The collection of art on view offers a range of styles from contemporary Native artists in a variety of mediums by artists hailing from tribes across the extended Pacific Northwest and beyond. Feddersen is the mastermind behind the Post Human Archive, the social media activity that was installed at SAM.
Asia Tail, also a curator (we can’t wait to see yəhaw̓ at the King Street Station opening in January 2019) is the hand behind the words on the Double Exposure website but we hadn’t seen her art previously! Fox Spears is one of the teaching artists offering free Drop-In Studio workshops at SAM (there’s one more workshop on Sunday led by Sondra Segundo before the exhibition closes) and it was so nice to see this work after learning so much about his process!
The lens we look through changes everything. In Native Portraiture, Tacoma Art Museum asks the question: What is communicated when an outsider portrays someone from another culture?
In the galleries you will have the chance to see contemporary Native artists representing Indigenous cultures for themselves. These works are interspersed by a few examples of depictions by non-Native artists that romanticize, stereotype, or appropriate Native people and cultures. We recommend spending at least an hour or two in this gallery to fully absorb the impact of this contrast.
Do yourself a favor and enjoy the ferry and short drive that it takes to get to Suquamish Museum. Well designed and chock-full of information, the permanent installation tells a detailed and important story through movement, textures, the forest environment and the symbolic movement of the tide. The objects on view, many never before exhibited, are a combination of works owned by the Suquamish Museum and on loan from Suquamish families and other museums. The way these objects are arranged creates an environment where you will want to spend some time. The museum describes their goal as an attempt to “displace the modern way of historical contextual understanding. Culture is more than historical events strung together. The passing of knowledge and values, generation to generation, is the core of Suquamish culture.” Based on our visit, the Suquamish achieves their goal, and then some!
Where your day trips take you, SAM recommends you make the time to visit the wealth of museums in Washington featuring work by Native artists!
“I think the value of Sonny Assu’s piece, Breakfast Series in SAM’s permanent collection, has a lot to do with righting the wrongs of history.” – C. Davida Ingram
Consider the value of contemporary Native art through the perspective of Seattle-based artist, curator, educator, and writer, C. Davida Ingram. Visit SAM’s Native Arts of the Americas galleries and the Art and Life Along the Northwest Coast installation to contextualize Sonny Assu’s Native formline design elements in his representation of Tony the Tiger or the “12 essential lies and deceptions” in his box of Lucky Beads. How does your perspective on food and access to land change as you consider the serious history behind this seemingly lighthearted artwork?
Eyes gravitate toward Brian Jungen’s work. On the surface, unexpected combinations make us wonder at the artist’s creativity. Looking more deeply, we find Jungen exploring identity in a way that resonates and challenges.
Jungen’s sculptural work The Mom Call acts like a stage where the forces of artistic choice and influence collide. The artist’s choices are unique. They also make very clear references to the life experiences that have shaped him. A combination of family and artistic heritage helped to bring about these choices, and in Jungen’s work, we see the artist physically molding a multi-faceted identity for himself.
In The Mom Call, Jungen has appropriated a chair produced for a notable 1940 design competition. By sampling the winning chair, he brings into his work the exclusive, European, bourgeois connotations linked to high-end design. The chair, though, is swallowed up in American elk hide, which is drawn taut by tarred twine according to traditional Native methods, forming a funny-looking—but functional—drum. Jungen was born in Fort St. John, British Columbia, to a Swiss-Canadian father and a Native mother of the Dane-zaa Nation. That dual heritage plays out in fascinating ways in Jungen’s work, where we can see him navigating his ancestries and finding a place among them.
A defining characteristic to his work is the clever re-use of objects. The creative vision Jungen displays when transforming Nike Air Jordans into Native-inspired masks, or when constructing whale skeleton replicas from petroleum-based plastics, is the meat and potatoes of his artistry, and he traces that habit of re-appropriating back to his mom. As a child, he would watch his mother and her family use objects outside of their original purposes to get stuff done. This “improvisatory recycling,” as Jungen calls it, was driven by necessity, but it also reflected a habit of looking at things for their potential, rather than their intention. Jungen learned from his mother how to be resourceful, how to deconstruct a known thing and create a new meaning for it.
Back to The Mom Call: The clean lines and the industrial, artificial quality of a modern piece of designer furniture give way to a sloping, organic form. The elk hide covers the chair, hiding its details but revealing its form, and changing its use, but not in a one-to-one transition. When we look at The Mom Call, we’re several steps removed from the item’s original function—chair as chair becomes chair as art object becomes chair-drum as functional art object (and museum exhibit, and so on). Influences, uses, interpretations, contexts, and perspectives all come into play. In this piece, Jungen displays original thinking about forms and how they communicate to us.
Tragically, Jungen lost both his parents in a fire when he was just seven. Through his art, the legacy of both his folks, but especially that of his mom—a woman who he says was “always trying to extend the life of things” 1—remains.
P.S. Brian Jungen’s mom made a difference—as moms do! Happy Mother’s Day to my mom and all our SAM Blog-reading moms!