SAM Shop Gift Guide: Mother’s Day

Happy Mother’s Day! Don’t wait until the last minute to buy all of the moms and moms-to-be in your life a gift. Surprise them with a something meaningful and locally made from SAM Shop! At SAM Shop, you’ll find uncommon objects, contemporary design for your home, jewelry by local artists, and more. Read below for five gift ideas that you can buy in store or online today. Plus, stop by the shop at our downtown location or at the Seattle Asian Art Museum this Mother’s Day weekend to get a free copy of Georgia O’Keeffe: Abstract Variations with any purchase. Can’t make it to the shop in person? Browse our digital catalogue for even more locally made and crafted gifts and select priority shipping or curbside pickup to make sure your items are delivered in time for Mother’s Day. Questions? Call the shop during business hours at 206.654.3120. As always, SAM members receive 10% on all online and in store purchases.

Ocean Sole Animal Sculptures
$18–$124
Available In Store Only

Rhinos, giraffes, lions, turtles, and more—your mom will love one of these friendly animals made from washed up flip flops retrieved from the beaches of waterways in Kenya. With their animal-inspired creations, Ocean Sole recycles over one ton of styrofoam per month and saves over five hundred trees per year. Plus, 10–15% of all profits go to organizing beach cleanups, providing vocational and educational programming, and stepping up conservation efforts in Kenya. Discover the full collection of animal friends and learn more about how your Ocean Sole purchase gives back to low-income communities in Kenya in store at SAM Shop.

Artistic Creations by Marita Dingus
$60–$400
Available In Store Only

“I consider myself an African-American Feminist and environmental artist. My approach to producing art is environmentally and politically infused: neither waste humanity nor the gifts of nature.” – Marita Dingus

An in-store exclusive, Seattle-born artist Marita Dingus is a mixed-media sculptor who works primarily with discarded materials to create beautiful and one-of-a-kind artistic creations. Drawing inspiration from the African Diaspora, the discarded materials she uses represent how people of African descent were used and discarded as slaves but still managed to repurpose themselves and thrive in our hostile world. Choose from a diverse selection of handmade earrings and necklaces, or take a trip to SAM Gallery and inquire about purchasing one of her artworks for sale.

Art & Design Books
Prices Vary
Available Online & In Store

SAM Shop is your one-stop-shop for all your unique art-related book needs. Choose from coloring books, cook books, biographies, architecture books or history books and invite your mom to explore the inner workings of the art world. Interested in learning more about current and past special exhibitions at SAM? Pick up your mom an exhibition catalogue documenting the stories and artworks behind Frisson: The Richard E. Lang and Jane Lang Davis Collection, Barbara Earl Thomas: The Geography of Innocence, Imogen Cunningham: A Retrospective, Monet at Étretat, Seattle’s Olympic Sculpture Park: A Place for Art, Environment, and an Open Mind, and more.

Pocket Sprites
$20–$65
Available Online & In Store

Portland artisan Beth Grimsrud loves to sew and reconfigure cast-off materials into new forms. In 2003, she began using upcycled sweaters to make mittens, decorated with original appliqué designs. A one-woman operation, she puts her heart into each and every stitch. Each plush pocket sprite is carefully considered and individually designed, making each one-of-a-kind. Buy them online for $65 to get a set of three small sprites with a matching purse or visit in store at our downtown location to buy individual small and large sprites.

Orca Family Tote Bag
$18.95
Available Online & In Store

“I was raised in a way of life based on hunting, fishing, feasting, singing, dancing and visual arts.  Art has always been communicated as an expression of spirit to the connections to people and the ways of life.” – Paul Windsor

After your visit to Our Blue Planet: Global Visions of Water at SAM, surprise your mom with a locally printed orca 100% cotton tote bag by Haisla, Heiltsuk artist Paul Windsor. Playing off the themes explored in Our Blue Planet, help your loved ones cut down on their plastic use while supporting the work of a local Indigenous artist.

– Lily Hansen, SAM Marketing Content Creator

Images: Chloe Collyer.

Muse/News: Art for the Earth, Fair Reflections, and Venice Prizes

SAM News

Earth Day is every day! Get inspired to create change with Our Blue Planet: Global Visions of Water, now on view at SAM. Aesthetica Magazine features the exhibition on their list of “5 exhibitions for Earth Day” from around the world. So does the Stranger’s Everout list of things to do in Seattle for the important holiday. And Seattle Met includes the exhibition on their list of things to do in Seattle right now.

JiaYing Grygiel for ParentMap offers up “Best Things to Do With Kids on the Seattle Waterfront,” sharing fun secrets for a visit to the Olympic Sculpture Park (and very cute pictures of her kids zooming around sculptures!). 

“Every hour on the hour, a bell chimes and the Father and Son water fountain reverses. Take the walkway over the railroad tracks, where transportation-obsessed kids will love that you can watch train, car, plane, and boat traffic all from the same vantage point.”

Local News

Grace Gorenflo of the Seattle Times continues on the arts recovery beat, with recent stories on creative pandemic fundraising and this look at Mayor Bruce Harrell’s plan for the arts–and what arts leaders think

The Stranger’s Jas Keimig heads to the Henry Art Gallery’s new exhibition and reports back on “Finding Yourself Inside a Magma Slit.”

“How a 1962 art critic reviewed the Seattle World’s Fair”: Crosscut’s Brangien Davis looks back on the 60th anniversary of the Seattle World’s Fair and its “World of Art.” (She also shouts out some exhibitions to see for Earth Day, including Our Blue Planet at SAM.)

[Seattle Times art critic Ann G.] Todd was much more impressed with the Fine Art Pavilion’s exhibit of ‘Northwest Indian Art,’ curated by University of Washington anthropology professor and ethnobotanist Erna Gunther (who also served as director of what is now the Burke Museum). Previewing the show in the very first issue of ArtForum magazine (June 1962), Todd gushed, ‘It would be difficult to imagine more stunning proof of the expressive genius of the Northwest’s aboriginals.’”

Inter/National News

“5 Incredible Art Pieces From World-Class Contemporary Artists That Anyone Can Afford”: Jeff Miles for ARTnews with some very cool artist editions you can buy. Might we also recommend a visit to SAM Gallery and SAM Shop?

Tabitha Barber for the Art Newspaper reviews: “A new visual history of domestic service spanning 400 years examines the lives of those working within the home.”

Artnet reports back from the Venice Biennale: “Sonia Boyce and Simone Leigh Win Golden Lions at the Venice Biennale for Work Honoring the Visions of Black Women.”

“Both Boyce and Leigh were the first Black women to represent their nations at the 127-year-old biennale. They are also the first Black women to win Golden Lions… Asked about her plans after the award ceremony, Boyce told Artnet News, ‘I’m going to close the blinds, lie down, and cry for an hour.’”

And Finally

We would really like to be in one of these jazz clubs right now. 

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Natali Wiseman.

Muse/News: Poem to Water, Heartful Ukraine, and Woody’s Creations

SAM News

“Speak them out loud and they form a poem to water”: Art critic Susan Platt on the ten themes explored in Our Blue Planet: Global Visions of Water, now on view at SAM. And Seattle Met includes the exhibition on their list of things to do in Seattle right now.

“The exhibition…brings together different cultural expressions to demonstrate that water is our shared concern and necessary to our shared survival. In that way, the Indigenous voices are the most resonant in their respectful and deep understanding. But seeing their work and their voices placed among so many other cultures demonstrates the interconnectedness of everyone on the planet.”

Matthew Kangas for PREVIEW Magazine reviews Embodied Change: South Asian Art Across Time. “Teaches us about what we inherit”: Teen Tix writer Aamina Mughal also reviews the exhibition, now on view at the Seattle Asian Art Museum.

“This idea of dynamic identity and reclamation are echoed throughout Embodied Change and are told through the lens of the human body, specifically the female form. One thing that I believe unites these works is the burden of inheritance. There are certain things that we inherit through our heritage without us making the choice to do so. What we do choose, however, is how we carry this inheritance.”

Curiocity has “12 romantic spring date ideas in and around Seattle” that (obvs) includes a stroll through the art-filled Olympic Sculpture Park—or SAM just a mile down the road, if it’s raining! 

Local News

“Only 262 films?” Seattle Times’ Moira Macdonald interviews Seattle International Film Festival director Beth Barrett on what’s different at this year’s festival

The Stranger’s Jas Keimig on the launch of Seattle Restored, a series of pop-up storefront art installations from the City of Seattle. 

Crosscut’s Margo Vansynghel talks with artists Anastasia Babenko and Darya Husak about a solo show series featuring central and eastern European artists that took on even more relevance with the Russian invasion of Ukraine.

“We want to show the more soulful and heartful way of Ukraine. That it’s not destruction, that it’s not a ruin, that it’s actually a very rich and deep history that gets passed on and carried on through generations.” 

Inter/National News

Via Artnet’s Katie White: “Mr. Darcy’s Puffy White Undershirt From That Unforgettable ‘Pride and Prejudice’ Lake Scene Goes on View at Jane Austen’s House.”

Angelica Villa for ARTnews on a dumpster-diving new gallery show in New York featuring the mostly forgotten artist Francis Hines.

“Extraordinary Monuments to the Mundane”: The New York Times’ T Magazine profiles sculptor Woody De Othello as he looks forward to his inclusion in the Whitney Biennial. As we’ve shared in the past, a sculpture by this rising art world star was recently acquired by SAM for its collection and will go on view later this year. 

“As if the result of a solo game of exquisite corpse, these composite creatures are oddly proportioned and at turns alluring and unsettling. Thus, Othello highlights the thrum of spirituality he finds in everyday environments.”

And Finally

A figure skater’s gold medal-worthy first pitch

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Natali Wiseman.

Muse/News: Date at SAM, New Leader at Wing Luke, and Cultural Data Rescue

SAM News

We love art, and we love love: Thrillist rounded up their picks for “where to go on a date this spring in Seattle,” including “spend a rainy afternoon at Seattle Art Museum” and “go on a self-guided tour of Olympic Sculpture Park.” 

Lauren Halsey’s solo show at SAM in which she “brings together the ancient and contemporary to celebrate Black culture” is a “top pick” in the Stranger

Rosa Sittg-Bell of The Daily at UW interviews SAM curator Natalia Di Pietrantonio about Embodied Change: South Asian Art Across Time, now on view at the Seattle Asian Art Museum.

“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.”

And Seattle Met includes Our Blue Planet: Global Visions of Water on their list of “things to do in Seattle”; the special exhibition opens to the public this Friday at SAM.

Local News

The Seattle Times has you covered with “what you need to know about mask, vaccine rules at Seattle-area arts and music events.” SAM’s policies continue to align with public health guidelines.

Crosscut’s Brangien Davis commemorates the two-year anniversary of pandemic closures with a return to pandemic art walks, visiting a new ecological installation along the Duwamish River by Sarah Kavage.

Seattle Magazine shares the news that Joël Barraquiel Tan is the new executive director of Seattle’s Wing Luke Museum of the Asian Pacific American Experience.

“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.” 

Inter/National News

ARTnews reports: Opening this week at the Metropolitan Museum of Art is the latest site-specific installation commissioned annually for the museum’s rooftop; this year’s creation is by Lauren Halsey, whose work is also on view at SAM!

The New York Times’ Holland Cotter on Fictions of Emancipation: Carpeaux Recast, a new show at the Metropolitan Museum organized around a single marble sculpture.

Via Artnet’s Sarah Cascone: “Ukrainian arts organizations are striving to protect the nation’s cultural heritage—including the websites and digital archives of its museums and libraries.”

“The new initiative Saving Ukrainian Cultural Heritage Online (SUCHO) has been working around the clock to back-up and preserve data and technology, all of which are threatened by the war.”

And Finally

Dial 1-800-PEP-TALK (actually, it’s 707-998-8410).

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Natali Wiseman.

Muse/News: A Trailblazer, a New Arts Pub, and a Living Artwork

SAM News

Imogen Cunningham: A Retrospective is now on view at SAM! Crosscut’s Margo Vansynghel appeared on KUOW’s Friday segment of arts picks to talk about why you should see this exhibition of work by a “trailblazer.” Musée Magazine, Pro Photo Daily and EQ Magazine all had mentions of the show.

“A lifetime of seeing through to beauty”: Diane Urbani de la Paz for Peninsula Daily News shares her experience of the exhibition (noting Cunningham’s Port Angeles childhood).

“Wandering through the galleries, you feel like you know this woman, this defiant one who opened her mind to the world.”

Tamara Gane for Travel + Leisure recommends “art al fresco” at SAM’s Olympic Sculpture Park on their list of 24 things to do in Seattle.

Local News

For International Examiner, Robert Ryoji Dozono offers a remembrance of Northwest sculptor Michihiro Kosuge, who passed away in October.

Seattle Magazine is out with its list of the city’s “Most Influential People of 2021,” including art world leaders Michael Greer and Vivian Hua, KNKX news director Florangela Davila, Dr. Ben Danielson, and more.

New! Arts! Publication! Rain Embuscado for The Seattle Times with all the details on PublicDisplay.ART, a new venture from veteran publisher Marty Griswold; the first cover star is SAM favorite Tariqa Waters.

“Seattle-based artist Anouk Rawkson, who is featured in the magazine’s debut, says PublicDisplay.ART serves as a sorely needed platform. ‘With COVID, a lot of the arts suffered,’ Rawkson said in a phone interview. “For any artist, to get your body of work out to the public is a great opportunity.’”

Inter/National News

Artnet’s Sarah Cascone interviews artist Saya Woolfalk on the occasion of her new show at the Newark Museum of Art; Woolfalk’s dazzling SAM installation, Lessons from the Institute of Empathy, is still on view on the museum’s fourth floor!

“On destroying guitars and turning life into sculpture”: The Financial Times on artist Naama Tsabar’s new solo show in Miami; SAM recently acquired a work by the artist for its collection.

Billy Anania for Hyperallergic on an artists’ project in Ethiopia aimed at restoring biodiversity lost in the area due to climate change.

“This living artwork — part of the larger ‘Trees for Life’ project — will be visible from outer space, making it the first Earth observation artwork composed entirely from plant life.”

And Finally

Josephine Baker enters the Pantheon.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Self-Portrait with Grandchildren in Funhouse, 1955, Imogen Cunningham, American, 1883–1976, gelatin silver print, 8 3/4 × 7 5/16 in., The J. Paul Getty Museum, Los Angeles, 2006.25.2, © 2021 The Imogen Cunningham Trust.

Checking in on Environmental Restoration Efforts at the Olympic Sculpture Park

Salmon, sea lions, seals, rabbits, hummingbirds, eagles, and Cooper’s hawks—SAM’s Olympic Sculpture Park is a refuge for Seattle’s wildlife. Today is World Wildlife Conservation Day, a holiday intended to spread awareness about the natural world and its habitants, and we’re offering an update on ongoing habitat restoration projects taking place at the park.

In 1910, the park’s site was developed as a fuel storage and transfer facility by Union Oil of California (UNOCOAL). By the time the museum purchased the property in collaboration with the Trust for Public Land in 1999, the soil and ground water had been severely contaminated by petroleum products. In acquiring the land, SAM resolved to return the site to a functioning ecosystem, while simultaneously creating a safe space for public recreation and the display of outdoor sculptures.

As SAM trustee, collector, and arts philanthropist Martha Wyckoff previously explained to SAM, “Community can include everyone in Seattle and anyone who comes to visit. As we developed the project, we realized it also included the salmon, and the plants, and the future, by making sure there’s more green, natural settings in the downtown core for all to enjoy. Where else has a major city art museum created salmon habitat in partnership with a national nonprofit land conservation group?”

After an exhaustive international search featuring 52 applicants, Weiss/Manfredi Architects of New York was selected to design the park. The designers developed a 2,200-foot Z-shaped configuration to create four distinct landscapes that reflect the native ecosystems of the Pacific Northwest. This innovative design allowed for the implementation of several environmental restoration projects, including brownfield redevelopment, the creation of a salmon habitat restoration, and the capture and use of rainwater on-site.

Construction at the Olympic Sculpture Park © Seattle Art Museum.

On land, designers introduced a three-foot-thick layer of engineered soil that dramatically reduces runoff and allows rainfall to percolate and drain out to Elliott Bay. The planting of dense tree canopies, under-story vegetation, and ground covers also contribute to the retention of rainfall above the soil’s surface. By restoring the original topography of the land, the designers were able to reintroduce microclimates that allow for greater diversity in the plant and animal life which occupies the park.

Meanwhile, on the shoreline, designers focused on the creation of a nearshore habitat which serves as a refuge and foraging ground for juvenile Chinook salmon that migrate through the Green and Duwamish Rivers. They also opted to relocate rip-rap rocks from the shoreline to develop a pocket beach which created a shallow subtidal habitat bench suitable for the planting of native vegetation.

Since opening to the public in 2007, these environmental restoration projects have only continued to flourish. As SAM‘s Facilities and Landscape Manager Bobby McCullough explained, at this point, it’s all about maintaining the work first implemented while the park was being designed.

“Our efforts these days are mainly focused on watching the park grow and letting it do what it was meant to do,” he said.

The shoreline of the Olympic Sculpture Park. Image: Joe Finn.

That doesn’t mean there isn’t more progress to be made in returning the park and others across Seattle to their original environmental conditions, however. For the last year, Bobby has participated in a taskforce formed by Seattle Parks and Recreation aimed at creating and grooming more pollinator corridors throughout the city.

“The City of Seattle is really leading the charge right now in rethinking the landscapes of Seattle’s parks,” he said. “We’re often walking the waterfront, attending meetings, and coming up with new ideas about how we can increase the number of pollinator species that inhabit our parks.”

For 14 years, the Olympic Sculpture Park has served as a haven for art- and wildlife-enthusiasts alike. In addition to hosting thousands of visitors each day, the park often sees researchers from the University of Washington studying the growth of juvenile salmon and other organisms near the shoreline, as well as members of the Seattle Audubon Society observing its natural wildlife populations.

“The growth in wildlife that we’ve seen in the last few years around here has been really fantastic,” Bobby said. “Looking forward, I think these numbers are only going to grow.”

 Lily Hansen, SAM Marketing Content Creator

Image: Joe Finn.

Behind the Scenes with SAM’s Conservation Team

Every painting, drawing, and sculpture at Seattle Art Museum, Seattle Asian Art Museum, and Olympic Sculpture Park is thoroughly inspected and cleaned by our conservation department before being put on view. These supremely talented individuals are dedicated to maintaining the aesthetic and structural health of SAM’s vast and, in some cases priceless, collections.

Watch this video from Seattle Channel’s Art Zone to get to know the leader behind this department, Jane Lang Davis Chief Conservator, Nicholas Dorman. Nick discusses his upbringing, explains how he ended up at SAM, and walks viewers through how he and his team care for every work of art at all three locations. All the works featured in this video can be seen on view in Frisson: The Richard E. Lang and Jane Lang Davis Collection at SAM through November 27, 2022.

In honor of National Ask a Conservator Day on November 4, we reached out to our Instagram community to see what questions they had for SAM’s conservation team. Nick, along with Senior Objects Conservator Liz Brown and Associate Conservator Geneva Griswold, took the time to answer them and give a bit more insight on their favorite memories at SAM—read their responses below!

What are some of the most time-intensive projects for SAM conservators to tackle?

Liz Brown (LB): Conservation treatments are time-intensive by nature! Small artworks treated in the studio take hundreds of hours to clean, treat, and document. Large, outdoor works such as those at the Olympic Sculpture Park get cleaned once a week, and then receive in-depth treatments, like a refreshed coating, each summer.

SAM Conservator Liz Brown cleans Echo at the Olympic Sculpture Park.

What background, formal education, and training is required to become an art conservator?

Geneva Griswold (GG): Paths into the conservation field can be circuitous, but many of us studied art history, chemistry, or are artists ourselves—conservation combines all of these interests! Formal entry into the field often includes the completion of a three-year graduate degree in art conservation with a specialty in objects, paintings, paper, textiles, books, or works on paper. Additional experience is gained through internships and fellowships.

What is your most cherished memory of working on SAM’s conservation team?

GG: One of my favorite memories is installing Yves St. Laurent: The Perfection of Style because it required teamwork from everyone in the department, plus local conservators who work in private practice, and conservators from France who travelled with exhibition. These collaborations are always the most fun because I learn a lot from my colleagues!

What has been your favorite artwork to restore/preserve while working at SAM?

LB: My favorite object is frequently what I am working on in the moment as each new work presents an opportunity to explore. Right now, I’m investigating cold cathode lights with artist Claude Zervas to prepare his artwork Nooksack for an upcoming exhibition.

SAM Conservator Liz Brown stops to take a photo while investigating cold cathode lights for Claude Zervas’s work Nooksack.

How do you ensure you don’t change an artist’s intent when doing conservation?

Nick Dorman (ND): This important point is the subject of much concern and discussion. Treatments may be discussed with living artists directly, and conservators may collaborate with an artist’s foundation, community members, and others who are close to the work. We carefully research and document all work, and design every treatment to be reversible.

What aspect of conservation is misunderstood or overlooked?

LB: The title “conservation” can cause confusion it is often seen as rooted in a tradition of attempting to keep an object from changing. Sometimes this is a goal, but when considering treatment, we always consider the intangible aspects of the artwork. Thus, in conversations with stakeholders, we are looking to manage, change, and look to how that artwork lives best in a museum.

What is your favorite conservation tool?

LB: This is always changing, but one I come back to all the time is the very simple, yet versatile bamboo skewer. It’s wonderful in that it can be easily shaped to suit a variety of purposes. The wood box my father made for my small tools is also a favorite.

What’s the most interesting attempt you’ve seen a previous owner make to conserve an object? What did you have to do to correct/modify their attempt?

GG: I am currently working on a black lacquer wood sculpture. In areas where the black lacquer is missing, someone has colored the bare wood with a Sharpie marker to hide the unsightly loss. While well intentioned, this will be challenging to remove, if at all possible. Someone also used carpenter’s wood glue to reattach elements of the sculpture, however this type of adhesive has damaged the fragile lacquer. My treatment seeks to remove this adhesive and replace it with a more appropriate choice.

Any strange conservation stories to share?

ND: When I went to Italy in 2006 to research the original location of SAM’s Tiepolo ceiling fresco with former Chief Curator Chiyo Ishikawa, we found what seemed to be a very similar painting on the ceiling of the painting’s original home in Vicenza. The current custodian of the home said, “We have the Tiepolo, I don’t know what you have.” Turns out, we both have the Tiepolo! The surface of the original painting had been removed from the underlying fresco layers and attached to a new canvas support, eventually traveling across the world to grace SAM’s Porcelain Room ceiling. The remaining under-paint was left in place and was eventually retouched by a prominent Italian restorer.

Former SAM conservation tech, Tim Marsden, admires the Tiepolo during conservation.

What advice would you give to someone interested in pursuing a career in art conservation?

GG: Review the American Institute For Conservation and the Emerging Conservator Professional Network for resources. Informational interviews with conservators and conservation students can give a window into what the job entails on a day to day basis. Our roles vary immensely from museum to museum, and from institutional settings to private practice. Find a mentor who can provide sustained guidance—SAM conservators are happy to connect with you, get in touch with us!

– Lily Hansen, SAM Marketing Content Creator

Image: Courtesy of Seattle Channel.

Muse/News: Monet at SAM, Art Walks, and Cave Cinema

SAM News

Seattle Met continues to recommend our Monet special exhibition on their list of “what to do in Seattle.” Monet at Étretat is on view through October 17.

And Curocity highlights SAM’s upcoming fundraiser, Par-Tee in the Park, featuring an artist-made mini-golf course in the Olympic Sculpture Park. Tickets are still available for the cocktail night on August 21!

Local News

Gabriel Campanario, AKA “Seattle Sketcher,” is retiring his regular sketch column in the Seattle Times for new challenges as the paper’s staff artist. His final column features a moment with a trail, a rabbit, and Echo at the Olympic Sculpture Park.

Crosscut’s Margo Vansynghel on Daybreak Star Radio, a new Seattle-based station on which “more than 90% of the songs aired…are written, produced or performed by Native American or First Nation peoples.”

The Stranger’s Jasmyne Keimig returns to Pioneer Square Art Walk and luxuriates in its in-person-ness (but needs more time for the art!).

“I happily sweat ever so lightly in Pioneer Square’s tiny galleries; roamed the neighborhood’s cobblestones, looking for a free cup of wine (which I never found); pleasurably avoided the people I wanted to avoid; and took in art IRL next to living (and masked-up) patrons. Their body heat, errant observations, and awkwardness are part of what makes looking at art so much fun.”

Inter/National News

“The call is clear: Museums must change.” Artforum kicks off the first of two editions exploring how art institutions might evolve to meet an urgent moment.

Art-related beach reads? Art-related beach reads! Via Artnet.

“An ancient version of cinema”? Artnet’s Sarah Cascone on studies of prehistoric lamps and how they may have been used to animate cave paintings.

“The play of the firelight on the paintings likely added a sense of motion to the static images, seemingly animating the artwork in a precursor to today’s movie theaters.”

And Finally

“I, too, am a person and get another chance every day the sun comes up.”

– Rachel Eggers, SAM’s Associate Director of Public Relations

Image: Installation view of Monet at Étretat at Seattle Art Museum, 2021, photo: L Fried.

Muse/News: Monet at the Seaside, Art in Person, and White House Walls

SAM News

Seattle Times photojournalist Alan Berner snaps the member preview of SAM’s “refreshing” exhibition, Monet at Étretat, which opens to the public this Thursday. The focused exhibition features paintings from the famous artist’s sojourns to the seaside village; you can practically feel the sea spray. Come inside and cool off with art!

The exhibition is also featured on the Stranger’s list of “biggest in-person festivals and events” for summer 2021.

“An ingenuous feat of urban planning”: Lonely Planet highlights the Olympic Sculpture Park as one of the “best things to do with kids in Seattle.”

Local News

In her latest ArtSEA post, Crosscut’s Brangien Davis talks about the AIDS Memorial Pathway, a new show at Photographic Center Northwest, and a new composition by Ahamefule J. Oluo.

Gemma Alexander for the Seattle Times on “how Seattle Opera became one of few companies nationwide to pull off an all-digital season.”

“From the must-see to the weird and wonderful”: Gayle Clemans for the Seattle Times returns to “On View,” spotlighting three art shows to see in Seattle.

“There’s nothing like seeing art in the flesh. It can stir the senses, feed the mind and heal the soul. And with more people vaccinated, it’s a wonderful time to go see art in person.”

Inter/National News

“Art historians have discovered a long-lost painting by Rembrandt van Rijn in Rome”, reports Artnet’s Sarah Cascone. It fell off a wall and was taken in for repairs, leading to the discovery of who painted it.

The New York Times’ Robin Pogrebin on Antwaun Sargent’s first show as a director at Gagosian; also, here’s GQ with a report on the opening’s impressive style.

Each new administration puts their own touch on “The People’s House,” John Anderson of the Washington Post details some of the new works of art the Bidens have or will include on the walls of the White House.

“The works the Bidens have hung on the walls thus far reflect a running theme with the first family: a deep connection to their personal history.”

And Finally

Wesley Morris (ahem, two-time Pulitzer Prize-winning Wesley Morris!) on Questlove’s new documentary, Summer of Soul.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Waves at the Manneporte, ca. 1885, Claude Monet, French, 1840–1926, oil on canvas, 29 × 36 ½ in., North Carolina Museum of Art, Raleigh, Gift of Ann and Jim Goodnight, 2016.8.5, image courtesy of the North Carolina Museum of Art

Weightlessness: Tour The Eagle

Let yourself linger under and around Alexander Calder’s The Eagle with this stop on our free audio tour of the Olympic Sculpture Park. This iconic work can be seen from most locations in the park as well as from the ferry’s coming in from the Puget Sound. Follow the entire tour the next time you visit the park.

Carefully restored in summer 2020, The Eagle, is once again its original and stunning Calder red, making it impossible to miss on a walk through the park. The Eagle displays its curving wings, assertive stance, and pointy beak in a form that is weightless, colorful, and abstract.

The Olympic Sculpture Park has four distinct landscapes that reflect the native ecosystems of the Pacific Northwest: The Valley, The Grove, The Meadow, and The Shore. They provide a diversity of settings for art and introduce an array of plants and birds found in the Puget Sound region. You can find The Eagle standing in one of the meadows. On both sides of Elliott Avenue, meadow landscapes with expanses of grasses and wildflowers meet the bordering sidewalks to achieve the “fenceless” park that SAM conceived from the start. Both the meadows and the grove were intended as regenerative landscapes that provide flexible sites for sculpture and artists working in the landscape.

Image: The Eagle, 1971, Alexander Calder, painted steel, 465 x 390 x 390 in., Gift of Jon and Mary Shirley, in honor of the 75th Anniversary of the Seattle Art Museum, 2000.69, © Calder Foundation/Artist’s Rights Society, NY, photo: Benjamin Benschneider.

Muse/News: Kids are Free, a Memorial Chorus, and Monet the Influencer

SAM News

Red Tricycle has families and caregivers covered with this list of “Top 10 Free (or Cheap) Things to Do This Summer,” including a reminder that children 14 and under always get in free at the Seattle Art Museum and the Seattle Asian Art Museum. Get in the mood for SAM’s summer exhibition, Monet at Étretat, with this cool teaser video that takes you to the village’s epic cliffs.

They also recommend the free-to-all Olympic Sculpture Park, as does Curiocity with their list of “13 of the absolute best beaches you can find in and around Seattle.”

Local News

This Saturday is Juneteenth, commemorating the end of slavery in the US. The Northwest African American Museum is hosting nine days of events, kicking off on June 15. Seattle Met’s Stefan Milne has a great overview of their plans and other celebrations happening around the city.

Paul Constant for Crosscut on We Hereby Refuse, a new nonfiction comic by local writers and artists exploring Japanese American resistance to internment.

The Seattle Times on Capitol Hill’s AIDS Memorial Pathway (AMP), which will be dedicated on June 26 as one of the few memorials honoring those lost to and impacted by the AIDS epidemic. Take your time with the feature story by Crystal Paul and photos & video by Erika Schultz and Ramon Dompor.

“…The AMP aims to tell the common chorus that ties the stories together — the loved ones lost, the community banding together to help and protest, the clubs where they danced their troubles away, the friends who became family.”

Inter/National News

For the first time, the family of Jean-Michel Basquiat will organize an exhibition of the late artist’s works, including rarely seen examples from their private collection, reports Artnet’s Sarah Cascone.

“Storied New York arts nonprofit the Kitchen has appointed Legacy Russell executive director and chief curator,” reports Artforum.

For Hyperallergic, Chandra Steele tests out a theory: Monet is the granddaddy of all Insta girls.”

“On that holiday on the Normandy coast, the writer Guy de Maupassant observed Monet chasing shadows and sun, lying in wait until they shifted to suit his fancy, and said, ‘In truth, he was no longer a painter, but a hunter.’ Anyone who’s stood in line for six hours to get that gram in the Rain Room can relate.”

And Finally

Explore the work of the 105th class of Pulitzer Prize winners.

– Rachel Eggers, Associate Director of Public Relations

Photo: Jueqian Fang

A Meditative State: Tour Echo

Bring your ear buds the next time you visit the Olympic Sculpture Park and take a free audio tour through some of the monumental artworks at the park! This week on the blog, we are featuring the fifth stop on the tour, Jaume Plensa’s Echo.

Echo is a 46-foot-tall sculpture installed on the shoreline, made from resin and steel, and coated in marble dust. Rising from the center of the park with eyes closed, its stunning surface is luminous in daytime and at night. Jaume Plensa is a Catalan artist who lives and works in Barcelona. He has come to great prominence in the last decade with his monumental figurative outdoor sculptures. Reminiscent of memorial sculpture, Plensa has created seated figures and heads in introspective, meditative states.

The Olympic Sculpture Park features works from SAM’s collection, sculpture commissioned specifically for the park, loans, and changing installations. The artistic program reflects a range of approaches to sculpture, past and present, and is designed to respond to evolving ideas about sculpture in the future.

Image: Echo, 2011, Jaume Plensa, Spanish, Born 1955, Polyester resin, marble dust, steel framework, Height: 45 ft. 11 in., footprint at base: 10 ft. 8 in. x 7 ft. 1 in., gross weight: 13,118 lb, Gift of Barney A. Ebsworth, 2013.22, © Jaume Plensa, photo: Benjamin Benschneider.

The Changing Sky: Tour Seattle Cloud Cover

Follow an audio tour of the Olympic Sculpture Park the next time you find yourself strolling along Seattle’s waterfront. Carrie Dedon, SAM’s Assistant Curator of Modern and Contemporary Art offers four stops along the Z-Path that runs through the park. This week we are featuring Seattle Cloud Cover, by Teresita Fernández. This artwork connects the upper park area to the stunning waterfront. Her work incorporates images of the changing sky discovered in nature and art, and offers a beautiful view of downtown and the park.

The Olympic Sculpture Park evolved out of a mutual commitment between SAM and the Trust for Public Land to preserve downtown Seattle’s last undeveloped waterfront property. The Seattle Art Museum resolved to return the site as much as possible to a functioning ecosystem, while providing a unique setting for outdoor sculpture and public recreation. This was no small task given a century of change amidst the state’s largest urban environment. The design for the park grew out of a desire to embrace the city’s energy and to creat​e collaboration between art, landscape, architecture, and infrastructure. It also afforded a wide range of environmental restoration processes, including brownfield redevelopment, salmon habitat restoration, native plantings, and sustainable design strategies. The Olympic Sculpture Park is open all year and always free!

Image: Seattle Cloud Cover (detail), design approved 2004; fabrication completed 2006, Teresita Fernández, laminated glass with photographic design interlayer, approx. 9 ft. 6 in. x 200 ft. x 6 ft. 3 in., Olympic Sculpture Park Art Acquisition Fund, in honor of the 75th Anniversary of the Seattle Art Museum, 2006.140, © Teresita Fernández, photo: Paul Macapia.

Tangible Space: Tour of Wake

Take a tour through some of the large, stunning artworks of the Olympic Sculpture Park with Carrie Dedon, SAM’s Assistant Curator of Modern and Contemporary Art. This audio tour offers a history of the park and new views of artworks that have become iconic elements of Seattle’s waterfront.

One of the largest works, Wake by Richard Serra, is located in the park’s valley, in the Northeast corner. For artist Richard Serra, space is a substance as tangible as sculpture. He uses materials and scale to alter perception and to engage the body, encouraging consciousness of our relation to space. Follow along as Dedon shares the artist’s process and leads you through various ways to experience the work depending on how you approach it.

The Olympic Sculpture Park is SAM’s third location and it opened January 2007. Covered in monumental artworks, this award-winning nine-acre sculpture park on the waterfront is Seattle’s largest downtown green space and is just one mile north of the Seattle Art Museum. As the site of prior brown field, restoration was at the heart of the development of the park as well as integration of the urban core of the city with the wild coast line designed to foster the recovery of salmon habitat. The park is open all year and always free.

Image: Wake, Richard Serra, 2004, 10 plates, 5 sets of locked toroid forms, weatherproof steel, each set, overall: 14 ft. 1 1/4 in. x 48 ft. 4 in. x 6 ft. 4 3/8 in.; overall installation: 14 ft. 1/4 in. x 125 ft. x 46 ft.; plate thickness 2 in.; weight: 30 tons (each plate), Purchased with funds from Jeffrey and Susan Brotman, Virginia and Bagley Wright, Ann Wyckoff and the Modern Art Acquisition Fund, in honor of the 75th Anniversary of the Seattle Art Museum, 2004.94, © Richard Serra to Wake, photo: Stephanie Fink.

Muse/News: Stories to Tell, Ceramic Guardians, and Louvre Super-Fans

SAM News

Museum Shows With Stories to Tell”: Ted Loos for the New York Times’ special Museums section, highlighting summer exhibitions around the country including Monet at Étretat at SAM, opening July 1.

USA Today readers have named the “10 best sculpture parks in the US”; SAM’s Olympic Sculpture Park comes in at number 8! Go outside and see some art.

Intertwined weaves Black beauty into the cityscape,” writes the Stranger’s Jasmyne Keimig about the new public art installation by Intisar Abioto and Hank Willis Thomas. The nine street banners scattered throughout the Central District were brought to Seattle by Wa Na Wari in partnership with SAM.

Local News

Misha Berson for Crosscut on the Campfire Festival, an outdoor theatre fest happening now through June 5; its organizers the Williams Project say “we have to help people figure out how to commune again.”

Melinda Bargreen for the Seattle Times on the first live audience at Benaroya Hall in 14 months; watch the clip from the Seattle Symphony’s performance of a Beethoven piano concerto.

The Stranger’s Jasmyne Keimig visits the studio of Saya Moriyasu as she prepares for her upcoming show of ceramics at J. Rinehart Gallery.

“She shows me a sculpture with the head of a noble-looking seal—but the head is on top of a human body with a giant ass. Where the buttcheeks should be are two lighter colored circles, as if the creature had shaved just its rear end. It’s a beautifully made, oddly whimsical object that seems to wink at you: Don’t take anything too seriously.

Inter/National News

Francesa Aton of Art in America on “five new Black-run art spaces to watch.”

Maya Salam of the New York Times on several projects to preserve the plywood sheets that became art last summer, including Leesa Kelly’s “Memorialize the Movement” in the Twin Cities, which has now collected over 800 boards. 

Artnet interviews “super-fans” who were first in line to visit the Louvre when it finally reopened on May 19.

“We’re made of flesh, after all, and we need experiences. And it’s an experience to see objects in all their three-dimensionality … It’s touching to see these objects that have persisted through time.”

And Finally

“An Interactive Guide To Ambiguous Grammar.”

– Rachel Eggers, SAM Associate Director of Public Relations

Image: The Cliffs at Étretat, 1885, Claude Monet, French, 1840-1926, oil on canvas, 25 5/8 × 32 in., Sterling and Francine Clark Art Institute, 1995.528, image courtesy Clark Institute.

Muse/News: Issei & Nisei Art, Breakthrough Moments, and Lightweight Minimalism

SAM News

Japanese-language site Jungle City highlights Northwest Modernism at SAM, an installation featuring work by four legendary Japanese American artists of Seattle: Kenjiro Nomura, Kamekichi Tokita, Paul Horiuchi, and George Tsutakawa.

Architectural Digest includes the Olympic Sculpture Park on their list of the “6 Best Public Sculpture Parks to Visit This Spring and Summer.”

Nicole Pasia for the Seattle Times with recommendations for celebrating Asian American and Pacific Islander Heritage Month, including the reopening of the Seattle Asian Art Museum on May 28.

Local News

“Part satire, part pop art hallucination”: Seattle Met’s Stefan Milne on MS PAM, the street-level expansion of Martyr Sauce, Tariqa Waters’s Pioneer Square gallery.

The Stranger’s Jasmyne Keimig reports on Murmurations, a collaboration of six cultural institutions—Jacob Lawrence Gallery, Henry Art Gallery, On the Boards, Northwest Film Forum, Frye Art Museum, and Velocity Dance Center—with projects happening all summer.

Also in the Stranger: Chase Burns on the breakthrough moment for artist Drie Chapek, whose paintings and collages are now on view at the Greg Kucera Gallery.

“The breakthrough moment happened after Chapek picked up painting again in 2016, when a gallerist who presented her work in Edison, Washington, suggested she talk to the gallerist’s friend in Seattle named Greg. That Greg was Greg Kucera. When Kucera came to Chapek’s studio, “He was like, ‘Why haven’t you ever contacted me?’” She broke out laughing as she told the story. “I was like, ‘Check your email, dude.’”

Inter/National News

“Who doesn’t love a great find?” asks Menachem Wecker for Artnet, as he ranks seven of the greatest lost-art discoveries.

Jenna Wortham for the New York Times Magazine on the “glamour in the quotidian” of Deana Lawson’s photographs of Black people.

Alex Greenberger for Art in America on Felix Gonzalez-Torres’s “lightweight minimalism.”

“Amid it all is an acute sense of loss, though it’s intentionally ambiguous who—or what—is no longer present. How viewers make sense of it all depends on their knowledge of world history and Gonzalez-Torres’s biography, as well as their own identity.”

And Finally

Best friends reunite, visit anthropomorphic deer statues, and talk.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Nina Dubinsky

Kinetic Sculpture Inspired by Mark di Suvero

Create your own kinetic sculpture! Tune in to an art activity demonstration lead by teaching artist Romson Regarde Bustillo that takes cues from Mark di Suvero’s “Schubert Sonata” at the Olympic Sculpture Park. Follow along and think about how music impacts you as you get creative from your home.

The sculpture “Schubert Sonata”is a piece of moving art, which is also called kinetic art. The top part of the sculpture moves in the wind, while the tall pole holds the sculpture up and keeps it in the same place. Di Suvero has been interested in exploring movement in sculpture and has a strong interest in music. The title of this artwork refers to a piece of music written to be played on a piano. The artist formed curves, lines, and shapes out of metal while thinking of this music.

When you visit the Olympic Sculpture Park on the weekends, be sure to swing by the South Terrace to pick up a Park Pack, a tote bag which includes an activity to learn about kinetic art at the Olympic Sculpture Park. These Park Packs include sketching supplies and a family-focused activity lesson focused on movement, also inspired by “Schubert Sonata.” While you’re at the park, get inspired and start sketching. Park Packs are set out on Saturdays and Sundays and are available on a first come, first served basis. Free and open to the public.

Object of the Week: Sky Landscape I

Louise Nevelson was a pioneering American artist, perhaps best known for her large-scale monochromatic wooden wall sculptures. Born Leah Berliawsky in Kiev, Russia (now Ukraine), Nevelson emigrated with her family to the United States in the early 20th century. After moving to New York from rural Maine in the 1920s, Nevelson enrolled at the Art Students League, where she pursued painting. In the years that followed, she studied with some of the most preeminent artists of her day, such as Hans Hofmann and Diego Rivera.

Cubist principles influenced her earliest abstract sculptures, which were comprised of wood and other found objects. Collage and assemblage techniques continued to inform her compositions, which began taking more ambitious shape in the late 1950s. Found wooden fragments were stacked and nested to create monumental walls, architectural in scale and unified by a monochromatic finish. The sculptures, most often painted black, were done so due to the color’s harmony and, for Nevelson, the belief that black isn’t a “negation of color. . . black encompasses all colors. Black is the most aristocratic color of all. . . . . it contains the whole thing.”[1]

This dynamic relationship between color, light, sculpture, and space motivated Nevelson throughout her career, especially as she explored the possibilities of sculpture as it translated outdoors. Her first outdoor steel sculpture, Atmosphere and Environment X, in the collection of the Princeton University Art Museum, was made in 1969. Sky Landscape I is a part of this later body of work, where Nevelson continued her sculptural explorations in the round.[2]

Sky Landscape I and its dynamic forms, stretching upward and curling inward, is no stranger to the Olympic Sculpture Park, where it has been on view as a loan since 2007. As of last month, however, the piece officially entered the museum’s permanent collection as a gift of Jon A. Shirley. The work is the first sculpture by Nevelson in the collection.

With longer days and spring enlivening the Olympic Sculpture Park, it is the perfect time to visit and take in Sky Landscape I anew––its abstract forms inviting interpretation as a landscape nested within a landscape.

– Elisabeth Smith, SAM Collections and Provenance Associate


[1] Diana MacKown, Dawns & Dusks (1976): p. 126.
[2] This work, like other aluminum outdoor works by Nevelson from this period, were made with the potential for even larger realization. In 1988, the American Medical Association in Washington, D.C. commissioned a more monumental version; standing 30 feet tall, it is located at the intersection of Vermont Ave and L Street NW.
Images: Sky Landscape I, 1976-1983, Louise Nevelson (born Louise Berliawsky), welded aluminum painted black, 10 ft.  x 10 ft.  x 6 ft. 2 in., Gift of Jon A. Shirley, 2021.4 copy Estate of Louise Nevelson/Artists Rights Society (ARS), New York. Louise Nevelson, Cascade VII, 1979, wood painted black. 8 ft. 6 in. x 10 ft. 7 in. x 1 ft. 4 in., 9 elements plus base, 10 parts total, photo: Pace Gallery

Muse/News: Witnessing America, Asian Restos Go Digital, and Calder Maquettes

SAM News

The Seattle Art Museum is open, with limited capacity and timed tickets released online every Thursday. Chamidae Ford reviews Jacob Lawrence: The American Struggle for South Seattle Emerald, noting that the exhibition “takes us on a journey through American history, reframing the narratives we have heard for centuries.”

And Seattle Met’s Stefan Milne reviews American Struggle as well as the solo show, Barbara Earl Thomas: The Geography of Innocence, exploring how they both “witness America.”

“As different as can be, the two shows are rooted in a truth: How we see our past and our present are inextricable from how we see our future. That is, we’re still filling in frames, and might, with some attention, fill them in more honestly.”

SAM’s Olympic Sculpture Park is recommended by The Architect’s Newspaper as one of 11 “outdoor art spaces and museum grounds worth checking out this spring.” Take some allergy meds, mask up, and get out there!

Local News

Seattle Times columnist Naomi Ishisaka asks Karen Maeda Allman of Elliott Bay Books to recommend “15 books to read to learn more about Asian American history and experiences.”

Crosscut’s Brangien Davis is back with her weekly ArtSEA; this time, she visits Seattle’s new newsstand, previews the ByDesign festival, and some musical events.

Seattle Met’s Erin Wong with the story of how adult children of owners of Chinatown-International District restaurants are bringing their digital literacy to help the businesses during the pandemic crisis.

“Now, it’s the younger generations who are circling back to help their parents navigate the internet age. ‘This is just one thing I can do for my tribe, you know?’ [Carol] Xie says, ‘If that’s all it takes, I’m more than happy to do it.’”

Inter/National News

Hyperallergic says, Listen to the Sounds of an 18,000-year-old Conch.” Muse/News says, OK.

Catching up with gallerist Mariane Ibrahim, a Seattleite for a short and lucky-for-us time: in addition to her Chicago space, she is now expanding to Paris.

“The secret stunt doubles of the art world”: Peter Libbey for the New York Times on the seven maquettes—or models—of works by Alexander Calder made for MoMA’s new exhibition, Modern From the Start.

“Calder’s mobiles, whose orbits are eccentric, are particularly hard to anticipate. ‘I’ve never encountered a museum before that makes large, full scale cutouts for the actual gallery where the sculptures are going to go into,’ [Alexander S.C.] Rower said. ‘I think that’s amazing.’”

And Finally

A mural for the Storm.

– Rachel Eggers, SAM Associate Director of Public Relations

Installation view of Jacob Lawrence: The American Struggle at Seattle Art Museum, 2021, photo: Natali Wiseman.

Muse/News: Jacob’s Story, New Models, and a Will to Equity

SAM News

The Seattle Art Museum is open, with limited capacity and timed tickets released online every Thursday. Jasmyne Keimig of the Stranger reviews Jacob Lawrence: The American Struggle, now on view at SAM.

“America’s persistence as a country and a project was not foretold. Rather, it was violently taken and sketched out, marked by slavery, genocide, war, and immense struggle experienced by those seeking their own freedom and those looking to impose their will on others. It’s a point hammered out in the rest of the series.”

KING’s Evening Magazine toured the exhibition, interviewing SAM curator Theresa Papanikolas. Thrillist recommends the show, and Artdaily also shares the news

The University of Washington’s Daily on the “revolution and inclusion” on view in the exhibition; they also shared details of a Lawrence seminar this spring. And they reported on the museum’s recent gift of Lang Collection artworks.

And with this nice weather, don’t forget to visit the Olympic Sculpture Park; The Expedition includes it on this list of “best sculpture gardens for families.”

Local News

First Hill’s Museum of Museums will finally open, reports Capitol Hill Seattle Blog. 

And the Wing Luke Museum reopened recently; Sean Harding for South Seattle Emerald checked in on how things are going. 

Crosscut’s Margo Vansynghel dives deep with a survey of local arts and culture organizations and how they’re faring, one year into the pandemic; she finds dramatic losses and tentative hope for new models. 

“The arts and culture industry has relied on old models and underpaid, overworked people for decades. Those models weren’t cutting it even pre-pandemic, says LANGSTON’s [Tim] Lennon. ‘The old ways were not that great for a lot of small organizations, artists and culture workers, especially those from BIPOC communities,’ he wrote.”

Inter/National News

Hyperallergic’s Sarah Rose Sharp shares the news that United States Artists (USA) president and CEO Deana Haggag will be stepping down for a position at the Andrew W. Mellon Foundation.

PBS NewHour interviews Peabody Essex Museum curator Lydia Gordon about the two recovered panels of the Struggle series, both of which are now on view at SAM.

Tessa Soloman of ARTnews on how executive roles in equity and belonging are on the rise at museums; she interviews Rosa Rodriguez-Williams at Boston’s Museum of Fine Arts, Craig Bigelow at Crystal Bridges Museum of American Art, and others. The article references SAM’s appointment of Priya Frank to Director of Equity, Diversity, and Inclusion in August 2020. 

“Not all of this work requires funding—it’s about changes in procedure and process,” [Bigelow] said. “Too often there’s a default to slowing the work or stopping the work because there’s a perceived lack of funding. But this isn’t entirely about funding—it’s about will.”

And Finally

Oscar nominations have been announced; get going on your watch list!

– Rachel Eggers, SAM Associate Director of Public Relations

Installation view of Jacob Lawrence: The American Struggle at Seattle Art Museum, 2021, photo: Natali Wiseman.

Virtual Tour with Mary Wallace

SAM Docent, Mary Wallace is taking us to Seattle’s waterfront to wander the Olympic Sculpture Park and do some close looking at the monumental sculptures that call the park home. Mary Wallace is one of SAM’s talented and trusted docents. Docents volunteer a ton of their time learning about the art at SAM to lead tours for art lovers of all ages. While we can’t have in-person tours at the moment, we hope you will follow Mary’s tour on your phone the next time you visit the Olympic Sculpture Park.

We’ll start first with a big shiny tree. It is called Split and it is a tree made of steel. The branches are made of 20 different sizes and the tree was designed by artist Roxy Paine on a computer. Look closely and notice lines, shapes, colors, and texture. Compare Split to the Garry Oak that’s planted next to it. Make a list of the similarities and differences between these two trees. What about the sculpture looks real? What looks unreal? Is this tree realistic or abstract? Think about a way to describe this shiny tree. If you touched it, how would Split feel? Can you smell it? Could you taste it? You can see it. Could you hear wind going through its branches? Would the branches move? Why do you think the artist made this tree? The artist, Roxy Paine, likes to make artificial versions of nature. He thinks it is interesting to control nature and this is his way of doing it. What are other ways that we control nature: building dams, burning forests, having wolves go back into forests. Would you like to have a tree like this in your yard? Why do you think it is called Split?  

Take a picture of this tree with your mind and pack up your senses. What were those senses again? Put it all in your memory bank. We are going down this hill and into that greenhouse where we will meet another tree. 

Welcome to Neukom Vivarium where a nurse log lives.

Once upon a time, there was a beautiful tall evergreen tree that was about 100 years old. One winter there was a lot of snow, and rain, and wind and the tree was blown back and forth for many days. Eventually it was blown down. It laid on the forest floor for about 10 years growing all sorts of things on it. One day, an artist named Mark Dion, saw it and decided that it must go to live in a museum. It lives inside this building now. But how does it live if it cannot get rain, sun, wind and soil? Look around and find the sprinklers, the green tinted glass and the fans. 

Once a year, a gardener brings dirt to put all around the tree. How is this tree like the one you just saw? How is it different? Is this tree alive or is it a dead? Is it an artificial tree like you just saw? If it is dead, how come things are growing out of it? What do you think is going on here? This is a nurse log and it is decomposing all the time. That is how things grow from it. What is decomposing and what makes it decompose? Since it is decomposing all of the time to support new growth, eventually this nurse log will disappear. Any stick that has growth of moss, lichen, or fungi is also a kind of nurse log. Is this art or is it nature? Do you wonder if this was a good idea to bring this tree out of the forest and put into a museum? Why do you say that?

Remember what Split looked like and what the nurse log looked like. Which one would you like to have in your back yard? Make room for this nurse log next to Split in your memory bank.  

Walk uphill through the Meadow. You’ll pass a big red sculpture on the right, called The Eagle as you head to the big sculpture at the end of the path on the left. Stop once or twice to look at it as you walk. How does it change as you get closer? What shapes, colors, textures, materials do you see? Is the piece realistic or abstract? What do you make of this? Why do you say that? What does it remind you of? Why would the artist make this? What would you call it? 

Its name is Bunyon’s Chess. What senses are you using to enjoy this? Sight for sure, and maybe the smell of the salty air that surrounds the art. The artist likes to use wood to remind you of forests and waters that keep them green and healthy. He also likes to use materials like steel and wood from buildings that have been torn down. The artist likes for his sculptures to move. When the wind is strong, what part of this sculpture do you think moves?  

Add Bunyon’s Chess to your memory bank and leave room for one more sculpture.    

Walk east and down the steps into the Valley. There is a large sculpture in front of you. Think about describing it: color, shapes, texture, materials. Is it realistic or abstract? Walk down the steps to the gravel. What senses will be used to look at this piece: sight, and maybe the smell of the trees and plants around it. We can’t touch, but what does your sight tell you about how the surface might feel? How is it like Bunyon’s Chess that you just left: both are made of steel. Richard Serra is the artist who made this piece and he calls it Wake. What are three definitions of the word, wake:  wake up, wake from a boat, a ceremony to honor a dead person. The artist made this piece in honor of a friend who died. 

There are five parts of Wake and the artist invites you to run and/or walk through them. Remember to look up to the sky as you do. When you get to the other end, share how you felt and what you thought going through it. Why did the artist make five parts instead of one? How would it feel going around just one part?  Did it look different when you got to the other end? Is Wake realistic or is it abstract art?

There are steps on the left. Go up those steps towards the building at the top.  Stop twice on your way up, turn around and look at Wake.  Does it look different? Why do you say that? Go to the railing at the top and look back at Wake. How does Wake look from the railing? Do you see anything different in the top of Wake

How are Bunyon’s Chess and Wake alike and how are they different? Which one would you like to have in your yard?  

Have a seat in the grass or in the red chairs outside of the PACCAR Pavilion. Sit and look at the views. Think about one thing you will remember from your tour today. Think about the reasons to remember them. Was it because of the story, or the way the sculptures were alike or different, or the shapes you saw, or the materials, or the way it made you feel? Take one sweeping view of the Olympic Sculpture Park as you leave and wave goodbye to all of the art you saw.  

– Mary Wallace, SAM Docent

Images: Split, 2003, Roxy Paine, polished stainless steel, 50 ft. (15.24 m.), Gift of the Virginia and Bagley Wright Collection, in honor of the 75th Anniversary of the Seattle Art Museum, 2016.17.3 © Roxy Paine, photo: Stephanie Fink, Paul Macapia, Benjamin Benschneider.

Muse/News: New Angles, South End Energies, and Pantone’s 2021

SAM News

All SAM locations are currently closed until further notice, but you can still take a walk outside. Here’s Colleen Stinchcombe for the Seattle Times recommending a visit to Western Washington’s many outdoor spaces with sculptures, including SAM’s Olympic Sculpture Park.

“If you’ve walked through before, challenge yourself to find new angles on the statues: underneath, behind, up close. How does the park look on a rainy day, or if we manage to get a dusting of snow this year?”

The renovation and expansion of SAM’s Asian Art Museum by LMN Architects makes architecture site Dezeen’s list of top 10 US architecture projects of 2020. We are working towards reopening (again!) the reimagined museum in early spring 2021.

Local News

The Stranger’s Jasmyne Keimig takes a virtual tour of once-delayed-now-open exhibition Artemisia at the National Gallery in London; she says it’s worth the price of admission, although “when her Judith and Holofernes painting came through Seattle last year at the Seattle Art Museum, sidling up to the gruesome work felt holy.”

Crosscut’s Margo Vansynghel on Yakima-based artist and teacher Christie Tirado, whose recent series at Davidson Galleries, America’s Essential Workers, features “linoleum block relief prints [that] honor the people who harvest the produce many of us buy without much thought as to its origins.”

Beverly Aarons for the South Seattle Emerald on the effort to establish a state-certified “creative district” for Seattle’s South End, led by Afua Kouyate, executive director of ADEFUA Cultural Education Workshop.

“It’s about breathing energies into South Seattle,” Kouyate said. “I had so much dialogue with people [who were] like, ‘Oh, well we already have a business district in South Seattle. Oh, we already have our merchants association. We already—’ Yeah, but everybody is comfortably segregated. Nobody’s really doing things together.”

Inter/National News

Artnet has the sad headline: “A Single US Republican Senator Has Blocked the Approval of New Museums Dedicated to Women’s History and the American Latino.”

Alexandra M. Thomas of Hyperallergic has a play-by-play of a recent online teach-in organized by La Tanya S. Autry that addresses “the limits and possibilities of the arts to address anti-Blackness.” Catch up and find out what’s next for Autry’s Black Liberation Center.

The New York Times’ style writer Vanessa Friedman on Pantone’s announcement of the color of the year. Spoiler alert: for the second time, two colors have been named.

“News of the coronavirus vaccine has reinforced Pantone’s selection. Even in the gray sameness of our current days, the future does look a whole lot brighter. Illuminated, even.”

And Finally

ICYMI: Reflect on what the water holds.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Benjamin Benschneider

Tour Public Art with Jinny Wright

While you can’t visit City of Tomorrow: Jinny Wright and the Art That Shaped a New Seattle currently, you can still experience the artful legacy left behind by Jinny Wright. Discover outdoor art in Seattle with this tour of public art acquired or commissioned by The Virginia Wright Fund. The fund was created for Jinny by her father Prentice Bloedel in 1969. Jinny stated, “Commissioning works of art for public spaces was unheard of in the late ’60s.”

Follow along to see the outdoor art that shaped a new Seattle through the initiative of Jinny Wright.

Broken Obelisk, Barnett Newman, (1963-67)
University of Washington

The representation of the obelisk as broken and inverted is intended as protest and critique of power and colonial ambition. It’s as resonant today as it was in the midst of the Vietnam War when the artist created the work.

Iliad, Alexander Liberman, 1984
Seattle Center

See this piece from all angles by walking both around and through the portal of this bright red constellation of circular forms.

Moses, Tony Smith, 1975
Seattle Center

Originally commissioned as a plywood maquette in the 1960s by the Contemporary Art Council—another brainchild of Jinny Wright—the welded steel piece, coated in black paint was realized with the help of the Wright Fund.

Wandering Rocks, Tony Smith, 2016
Olympic Sculpture Park

Make sure to walk around this five-part installation for a sense of how the artist plays with volume and perspective and geometric forms.

Bunyon’s Chess, 1965 & Schubert’s Sonata, 1992, Mark di Suvero,
Olympic Sculpture Park

Jinny Wright greatly admired Mark di Suvero. Bunyon’s Chess was Jinny’s first private commission made for her garden in the 1960s, while Schubert’s Sonata was commissioned by Jinny and the museum to be installed at the edge of Puget Sound.

Adjacent, Against, Upon, 1976, Michael Heizer
Myrtle Edwards Park

This art by Michael Heizer combines cast concrete forms and granite slabs quarried in the Cascade Mountains.

Curve, Ellsworth Kelly, 1981 & Split, Roxy Paine, 2003
Olympic Sculpture Park

Head to the PACCAR Pavilion and you’ll spot two more works from Jinny’s personal collection. Ellsworth Kelly’s Curve is installed on the entrance wall to the Pavilion and Roxy Pain’s stainless steel tree Split can be seen in the meadow below.

Hammering Man, Jonathon Borofsky, 1992
Seattle Art Museum

Conclude at SAM’s downtown location where the Hammering Man hammers 24/7, only resting once a year on Labor Day. This piece was commissioned for In Public: Seattle 1991 and supported by the Wright Fund.

Extend your tour to Western Washington University in Bellingham for a campus sculpture tour—Jinny’s Wright Fund brought spectacular commissions by artists such as Nancy Holt, Bruce Nauman, Richard Serra, and Mark di Suvero to campus for all to enjoy.

Images: Hammering Man (detail), 1992, Jonathan Borofsky, Seattle Art Museum 1% for Art funds, Museum Development Authority, Virginia Wright Fund, and Seattle City Light 1% for Art funds, photo: Natali Wiseman. Mark di Suvero, painted and unpainted steel, height: 22 ft., Gift of Jon and Mary Shirley, The Virginia Wright Fund, and Bagley Wright, 95.81, © Mark di Suvero. Adjacent, Against, Upon, 1976, Michael Heizer, National Endowment for the Arts, Contemporary Art Council of the Seattle Art Museum, Seattle Arts Commission, Seattle City Light 1% for Art funds, photo: Spike Mafford. Curve XXIV, 1981, Ellsworth Kelly, American, born 1923, Gift of the Virginia and Bagley Wright Collection, in honor of the 75th Anniversary of the Seattle Art Museum, 2016.17.2, © Ellsworth Kelly. Split, 2003, Roxy Paine, American, born 1966, Gift of the Virginia and Bagley Wright Collection, in honor of the 75th Anniversary of the Seattle Art Museum, © Roxy Paine.

Muse/News: Seattle-Centric SAM, Spooky Art, and “I voted” Stickers

SAM News

“Seattle, Go See Some Art This November.” Well said, Seattle Met! In this round-up of shows to see this fall, Stefan Milne recommends SAM’s two “Seattle-centric” shows. City of Tomorrow celebrates the legacy of collector Jinny Wright and is now on view, and The Geography of Innocence, Barbara Earl Thomas’s solo exhibition, opens in November. 

Speaking of Barbara Earl Thomas: the artist was featured in the New York Times’ special arts section about her new work created for the SAM show; the article also discusses a major show for Bisa Butler, who along with Thomas is represented by Claire Oliver Gallery in New York. 

Local News

The Seattle Times’ Megan Burbank reviews Wa Na Wari’s new exhibition, Story Porch, which features installations by Virginia-based artist and historical strategist Free Egunfemi Bangura.

For her weekly editor’s letter, Crosscut’s Brangien Davis leans into Halloween, highlighting some spooky art to experience.

“Start peeking into your elderly neighbors’ living rooms—who knows what you might find.” The Stranger’s Jasmyne Keimig reflects on the recent exciting discovery of a missing Jacob Lawrence panel. Part of the artist’s Struggle series, the panel will be on view next spring at SAM

“I particularly love the mess of hands and feet on both sides of the work; the rebel farmers’ messy hair and their big, blocky hands; the bright red blood against the scene’s muted tones. Like with a lot of Lawrence’s work, you benefit from a long, good look.”

Inter/National News

Hyperallergic on why New York Magazine commissioned 48 artists to design “I voted” stickers, including Amy Sherald, David Hammons, Barbara Kruger, Hank Willis Thomas, and more.

The New York Times has recommendations for staycations in six American cities; a walk in SAM’s Olympic Sculpture Park is included in the tips for Seattle.

Artnet’s Sarah Cascone reports on the ongoing controversy around the Baltimore Museum of Arts’ planned sale of artworks from its collection; last week, the museum pulled the works from auction just hours prior to the sale and after the Association of Art Museum Directors offered clarification on their guidelines.

“‘I recognize that many of our institutions have long-term needs—or ambitious goals—that could be supported, in part, by taking advantage of these resolutions to sell art,’ [AAMD board of trustees president Brent Benjamin] wrote. ‘But however serious those long-term needs or meritorious those goals, the current position of AAMD is that the funds for those must not come from the sale of deaccessioned art.’”

And Finally

The most sacred right

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of City of Tomorrow: Jinny Wright and the Art That Shaped a New Seattle at the Seattle Art Museum. Photo: Natali Wiseman.

Sculpture Park Summers Are For Conservation

Perched on a hillside overlooking the watery expanse of Elliott Bay, the Olympic Sculpture Park is a welcoming, art-filled green space. Free and open to the public year-round, the park plays host to visitors in every season. Because of its exposed, marine location, the sculptures that live at the park are subject to deterioration from both environmental and human causes. We take good care of the sculptures, cleaning and tending them year-round, but with Seattle’s rainy winters, summer is the window in which conservation maintenance and treatments can be carried out. Despite the pandemic, this summer was no exception as without maintenance, deterioration both structural and aesthetic quickly compromises the sculptures and installations. 

If you visited the sculpture park this summer, you probably noticed the massive white tent covering Alexander Calder’s The Eagle. The distinctive red paint coating Calder’s soaring, swooping sculpture had deteriorated and needed repainting. Thanks to a generous grant from Bank of America, The Eagle received new primers and a new coat of red paint. It looks amazing! Due to a multi-year collaboration between art conservators, the artist’s estates, coatings scientists, industrial paint manufacturers and industrial painters and advances in polymer technology, the new coating will be more durable than the previous one while still maintaining the color, saturation and low gloss finish of the original paint.

Echo by Jaume Plensa sits near the shoreline and can be seen from some of the ferries that cross Elliott Bay. Made from marble dust and polyester resin over a steel framework, Echo’s off-white exterior becomes discolored throughout the year. Not only distracting from the beauty of the sculpture, this soiling, for which we can partially thank the feathered friend pictured above, speeds the deterioration of the artwork. To protect Echo, SAM conservators cleaned her and applied a sacrificial coating. As the sculpture is over 45 feet tall, this was no small feat!

Offering visitors an opportunity to pause and shelter from the sun or rain, Seattle Cloud Cover by Teresita Fernández is a series of laminated glass panels encasing abstract, color-saturated photographs. Attached to the bridge over the railroad tracks that cross under the park, its glass panels needed cleaning. Using long-handled brushes, dirt, dust and other debris were carefully cleaned from the top and pedestrian-facing panels. Additionally, caulk used in the brackets holding the glass panels was scraped out and replaced. Caulk shrinks and swells with changes in humidity and deteriorates due to age and weather exposure.

Mark Di Suvero’s Schubert Sonata, a ribbon of twisting steel that rotates on a single, carefully balanced point, is sited near the Olympic Sculpture Park shoreline. With its proximity to Puget Sound, chlorides (naturally occurring salts present in the air near bodies of water) are a concern. These chlorides cause aggressive, rapid corrosion of uncoated steel and other metals such as bronze. To address this issue, while maintaining the raw steel aesthetic of the artist, a corrosion inhibiting protectant was applied. Invisible to the eye, this coating will extend the sculpture’s lifespan.

These projects are just a sampling of the conservation treatments completed over the last few months. Other conservation treatments included cleaning and coating bronze sculptures and addressing loses in painted surfaces to prevent corrosion. In addition to these projects, members of the SAM conservation team are regularly onsite at the park to make sure that each sculpture is looking its best. Before the rainy, short days of our northwest winter drive us all indoors, get yourself to the Olympic Sculpture Park to enjoy the stunning artwork and expansive views.

– Rachel Harris, Asian Art Conservation Center Associate

Images: The Eagle, 1971, Alexander Calder, painted steel, 465 x 390 x 390 in., Gift of Jon and Mary Shirley, in honor of the 75th Anniversary of the Seattle Art Museum, 2000.69 © Calder Foundation/Artist’s Rights Society, NY. Many thanks to Diamond Painting LLC for their work on the Eagle repainting project. Echo, 2011, Jaume Plensa, Spanish, Born 1955, Polyester resin, marble dust, steel framework, Height: 45 ft. 11 in., footprint at base: 10 ft. 8 in. x 7 ft. 1 in., gross weight: 13,118 lb, Gift of Barney A. Ebsworth, 2013.22 © Jaume Plensa. Seattle Cloud Cover, Design Approved 2004; Fabrication Completed 2006, Teresita Fernández, American, Born 1968, Laminated glass with photographic design interlayer, approx. 9 ft. 6 in. x 200 ft. x 6 ft. 3 in., Olympic Sculpture Park Art Acquisition Fund, in honor of the 75th Anniversary of the Seattle Art Museum, 2006.140 © Teresita Fernández. Schubert Sonata, 1992, Mark Di Suvero, American, Born 1933, Painted and unpainted steel, Height: 22 ft., Gift of Jon and Mary Shirley, The Virginia Wright Fund, and Bagley Wright, 95.81. © Mark di Suvero.

Muse/News: Support for SAM, Intiman’s Next Stage, and Lost Art Found

SAM News

Looking out from a place that looks out: The Stranger’s Jasmyne Keimig considers Louise Bourgeois’s Eye Benches at the Olympic Sculpture Park.

“It’s a dreamy experience to sit on the back of an eye. A surreal proposition that makes your observations of people, sky, park, and mountain so literal.”

Last week, the Seattle arts community received very welcome news: The Friday Foundation has gifted $9 million to nine organizations in the Seattle arts community, including the Seattle Art Museum. The foundation honors the lives and legacies of the late Jane Lang Davis and Richard E. Lang, inspired collectors and supporters of the arts. The Seattle Times and KUOW both announced the news.

Local News

For International Examiner, Danielle Quenelle reviews two Pioneer Square shows: Lakshmi Muirhead at J. Rinehart Gallery and Humaira Abid at Greg Kucera Gallery.

Crosscut’s Agueda Pacheco Flores reflects on how the pandemic has changed her role as an arts writer, and how she’s witnessed the resiliency of Seattle’s arts scene.

Intiman Theatre has a new home after eight nomadic years; it will become theater-in-residence and leader of a new program at Seattle Central College. The Seattle Times’ Brendan Kiley reports on the unique arrangement.

“‘If you look at the mission of the Seattle colleges and the mission of Intiman, they are so well aligned,’ [Sheila] Edwards Lange said. ‘I hope this will change the face of theater not only in our city but across the country.’”

Inter/National News

“A work you may not know—but should.” Artnet’s Katie White with a close reading of an oil pastel by Hollis Sigler. Another work by the feminist artist is currently on view at SAM in the installation, On the Edge.

Deana Lawson has won the Guggenheim Museum’s Hugo Boss Prize, reports ARTnews. She is the first photographer to win the $100,000 award.

Thrilling news: One of the five missing panels from Jacob Lawrence’s Struggle series has been found. Visitors will be able to see the newly discovered panel along with the others when SAM presents The American Struggle next spring.

“Last week a friend of mine went to the show and said, ‘There’s a blank spot on the wall and I believe that’s where your painting belongs,’ ” she continued. “I felt I owed it both to the artist and the Met to allow them to show the painting.”

And Finally

Jam not to scale.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Eye Benches I, 1996-1997, Louise Bourgeois. black Zimbabwe granite, 48 3/4 x 53 x 45 1/4 in., Gift of the artist, in honor of the 75th Anniversary of the Seattle Art Museum, 2005.113.1-2 © Louise Bourgeois, photo: C.E. Mitchell

Muse/News: Dawn Cerny Wins Award, Venus Suggests Life, and RBG’s Love for Operas

SAM News

SAM announced last week that Dawn Cerny is the winner of the 2020 Betty Bowen Award, an annual juried award for Pacific Northwest artists. Cerny will receive $15,000 and a solo exhibition at SAM in 2021. The Stranger’s Jasmyne Keimig shared the news, as did Artdaily.

Beverly Aarons for South Seattle Emerald interviews Barbara Earl Thomas about her upcoming exhibition at SAM, The Geography of Innocence, which features cut-paper portraits of Black children, many from the artist’s life.

“But she didn’t want to just capture them exactly as they were — she wanted to answer in her work the question, ‘What do I wish for them?’ Thomas didn’t want to talk about what she didn’t want — racism, violence, tragic deaths — but she wanted the work to embody the hope for the children’s futures.”

Tamara Gane for The Washington Post on “art alfresco,” recommending the best sculpture parks in the US to commune with art outside—and leading with SAM’s Olympic Sculpture Park.

Local News

The Stranger’s Jasmyne Keimig and Chase Burns previews four “don’t-miss” documentaries at the upcoming Local Sightings Film Festival.

“Washington State Is All Over the National Book Awards Longlist,” reports Seattle Met’s Stefan Milne. Get reading!

Muse/News really can’t take one more story about penguins visiting locked-down museums. Where are the penguins for SAM?? Anyway, here’s Crosscut’s Brangien Davis with her weekly editor’s letter, where she talks life on Venus, penguins in museums (sob!), and art classes for your health.

“I would argue that the Venus discovery is cultural, in the vein of Carl Sagan’s assertion that we’re all ‘made of star stuff.’ The mystifying connections across our vast universe contribute to the culture we humans create, even if subconsciously, or via some microscopic cellular nudge.”

Inter/National News

Yinka Elujoba for the New York Times on Jacob Lawrence: The American Struggle, which “succeeds in making visible, and even visceral, America’s history with the struggle for racial and political equality.” The exhibition is now on view at The Met and heads to SAM early next year.

The Brooklyn Museum made headlines last week when it announced it would sell twelve works from its collection at auction, to support the “management and care” of its full collection. They are the first major museum to take advantage of loosened regulations—due to the difficulties brought on by the coronavirus—around deaccessioning of works.

Justice Ruth Bader Ginsburg has passed away at the age of 87, leaving an immense legacy as a scholar, jurist, human—and opera lover. This tribute offers insights into the legal scholar’s intense advocacy for the arts.

“…those kinds of cases she made her career of are the stuff of opera. The underdog, the ill-served character: Manon Lescaut, Violetta, women who have to struggle their way to the top for survival. They connected to her sense of right and wrong and what is a humane way of living.”

And Finally

“A good time for thinking about Francisco Goya is while the world stumbles.”

– Rachel Eggers, SAM Associate Director of Public Relations

Image: The farm that was there and then not, 2020, wood, handblown glass, plaster tape, wire, paint, clay, 27 x 22 x 14 in., Courtesy of the artist, © Dawn Cerny

Muse/News: Fall into Art, Madrigal’s Music, and Painting A Democracy

SAM News

The Seattle Times’ Fall Arts Guide landed this Sunday; here, Megan Burbank looks at the upcoming season of visual arts. Burbank also visited SAM on its first day being open again to the public; she reported on the “subtle, early-bird cheer” of the galleries.

“And for the most part, things were surprisingly normal. Traffic in the museum flowed easily. Between a pair of spectators chatting casually on a bench and the lack of windows, time passed easily, and aside from the masks and the crowd level, it didn’t seem all that different from visiting a museum pre-COVID.”

Last week, the Seattle Times’ Alan Berner dropped by for a visit to Alexander Calder’s The Eagle at the Olympic Sculpture Park, which has been tented all summer for a major repainting. Keep an eye out for its unveiling in all its Calder-red glory.

Local News

The Seattle Times’ Paige Cornwell recently profiled Edy Hideyoshi Horikawa, a decorated veteran who served with the celebrated 442nd Regiment while his family lived in an incarceration camp and who became an artist and teacher upon his return. He celebrated his 100th birthday in August and was fêted with a drive-by parade.

Rena Priest shares her essay with Seattle Met from a forthcoming collection that explores Seattle’s storytelling heritages and what its UNESCO City of Literature designation means.

Crosscut’s Agueda Pacheco Flores interviews Seattle conductor Paula Nava Madrigal about how she’s “disrupting the traditionally white, male discipline of conducting.” Madrigal will once again conduct a Mexican Independence Day concert, which this year is going virtual.

“‘There’s an energy that comes from the orchestra that I’m communicating to the public,’ she explains. ‘It’s like a time machine where I am bringing the past into the present and creating the future.’”

Inter/National News

The New York Times reports on two important New York art-world news items: The Met’s hiring of Dr. Patricia Marroquin Norby (Purépecha) as its first full-time Native American curator, and the Studio Museum’s continued innovation of its artist-in-residence program, with four artists named to remote residencies this season, including Jacolby Satterwhite as a mid-career artist.

Artnet is out with its annual Intelligence Report on the art market, which this year launches an “Innovators List”: “a group of 51 entrepreneurs, artists, dealers, and others who are lighting the way toward the future with vision, chutzpah, and grit.”

Hyperallergic’s Valentina Di Liscia reports on Vote.org’s nonpartisan initiative that “seeks to channel the power of art to encourage voter participation,” working with artists such as Sanford Biggers, Jenny Holzer, and Julie Mehretu.

“Vote.org CEO Andrea Hailey believes that art may hold the key to educating and mobilizing citizens across the nation to exercise their right to vote… ‘If we lower the barriers to political engagement and turn more people out to vote, together, we can paint a more representative democracy.’”

And Finally

The Comedy Wildlife Photography Award finalists are out. Tag yourself; I’m Faceplant Baby Elephant.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: L Fried

Muse/News: Change at SAM, BLM meets AR, and a virtual tour of Harlem

SAM News

Last week, SAM announced that Priya Frank, leader of SAM’s Equity Team since 2016, has been promoted as the museum’s first-ever Director of Equity, Diversity, and Inclusion. The Stranger’s Jasmyne Keimig interviewed Priya about her “new, rare” position.

“‘Real change is going to take time,’ she said. ‘We’re not going to undo structural racism in a day or a year or within a strategic plan. It’s an ongoing lifelong commitment. But it’s amazing to see things we envisioned and dreamt of happening.’”

Local News

Jasmyne Keimig of the Stranger also spent some time this week taking in public art with a pocket beer in hand; consider following her “quick and dirty guide” to some of the best public art in Seattle, including Richard Serra’s Wake at the Olympic Sculpture Park.

Kamna Shastri for Real Change on Student Art Spaces, a youth-led initiative whose mission is to “amplify student voices in art through gallery exhibitions and events,” especially in terms of equity and accessibility.

Crosscut’s Margo Vansynghel on Amp’Up Seattle, an augmented reality art show created by designers at architecture and design firm GGLO for the Seattle Design Festival.

“‘The main aim was to have these locations have a new meaning to them,’ [Gargi] Kadoo says. She hopes people will use the app and artworks as an opportunity to ‘revisit the focus of the BLM movement,’ she adds. ‘Keep that heat and conversation going.’”

Inter/National News

Remember going places? Consider taking this virtual tour of Harlem, “New York’s most storied neighborhood,” led by the celebrated architect David Adjaye.

Sometimes a quick look at “the best and worst of the art world this week” is what you need to get caught up on all the news. Thanks, Artnet.

Artnet shares an opinion essay about the threat of climate change from Nick Merriman, chief executive of the Horniman Museum & Gardens in London.

“Museums must use their position as long-term memory institutions to look beyond short-term political and funding cycles and speak out about issues that are existential threats to all of us. This involves changes in two main areas: in museums and galleries’ operating models, and in their relationship with the public.”

And Finally

Hearken back to the days of innocently enjoying public transit with this breakdown of transit chimes by chord interval.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Stephanie Fink

Muse/News: Eagle’s makeover, open gazes, and dancing wire

SAM News

Brangien Davis of Crosscut notices that Alexander Calder’s The Eagle, the monumental sculpture that perches in the Olympic Sculpture Park, has its own protective covering these days. She spoke with SAM Chief Conservator Nick Dorman about the conservation and repainting of the steel sculpture, thanks to a grant from Bank of America. Look for “the big reveal” sometime around Labor Day. 

The sculpture park is where it’s at these days: John Prentice of KOMO’s Seattle Refined interviewed SAM curator Carrie Dedon about how important accessible public art is—now more than ever.

“‘Anything that can broaden your horizons or challenge your worldview, or spark your emotions, these are the things that make us human and connect us to our humanity,’ Dedon said.”

Local News

Longtime cultural critic Misha Berson writes an opinion piece for Crosscut, outlining her thoughts on how “the arts need a New Deal to survive the pandemic.”

Tom Keogh for the Seattle Times has recommendations for some streamable films (a TV series) about presidential campaigns that “give us a peek into the peculiar business of running for the White House.”

The Stranger’s Jasmyne Keimig takes her “Currently Hanging” series outside of Seattle; here, she visits Jordan Casteel’s Within Reach, viewable via the New Museum

“Her subject, Devan, stares openly at the viewer, seemingly aware of our gaze on his body, our intrusion on his space, our sussing out of his mental state…Devan projects an openness, a sort of straightforward vulnerability that makes this painting compelling.”

Inter/National News

Artnet’s Sarah Cascone on several upcoming art projects in Tusla, Oklahoma to memorialize the 1921 Tulsa Race Massacre, during which white mobs destroyed homes and “Black Wall Street,” killing at least 300 Black residents. 

The American Alliance of Museums is out with another survey on the impacts of COVID-19; Valentina Di Liscia of Hyperallergic outlines the major findings, including that 12,000 institutions may close permanently.

Thessaly La Force for the New York Times’ T Magazine on artist Ruth Asawa, who spent her teenage years in two concentration camps for Japanese Americans during World War II and whose important sculptural work has long been overlooked.

“I have stood in a gallery hung with Asawa’s wire sculptures, where the movement of my own body has caused them to sway, the shadows of the woven wire dancing against the floor. For a moment, I was quietly transported elsewhere — to the deep sea, to a forest or maybe to someplace altogether unearthly.”

And Finally

The making of washi paper

Photo: Sarah Michael

SAMBlog