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.’”
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.
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.
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.”
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.
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.
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.
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!
“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.”
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!
– 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
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.
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.
“…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.”
“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.”
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.
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 create 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!
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.
“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.”
“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.”
“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.’”
“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.”
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.
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.”
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.
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
 Diana MacKown, Dawns & Dusks (1976): p. 126.
 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
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.”
“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.”
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.’”
“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.’”
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.”
“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.”
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.”
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.
“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?”
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.”
“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.”
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.”
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.
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.
“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.”
“‘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.’”
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 TheEagle. The distinctive red paint coating Calder’s soaring, swooping sculpture had deteriorated and needed repainting. Thanks to a generous grant from Bank of America, TheEagle 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
“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.
For International Examiner, Danielle Quenelle reviews two Pioneer Square shows: Lakshmi Muirhead at J. Rinehart Gallery and Humaira Abid at Greg Kucera Gallery.
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.’”
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 Strugglenext 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.”
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.
“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.”
“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.”
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.
“…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 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.”
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.
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.’”
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.”
“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.’”
“‘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.’”
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.’”
Remember going places? Consider taking this virtual tour of Harlem, “New York’s most storied neighborhood,” led by the celebrated architect David Adjaye.
“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.”
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.
“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.”
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.
“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.”
Jasmyne Keimig of the Stranger reports on the quiet reopening of Seattle galleries. A group of galleries had asked to be included in Phase 2 and were granted permission; with precautions in place, “going to the gallery doesn’t look that much different from before.”
“Although the festival won’t be the same this year, Moriguchi noted that part of Buddhism is about change and adapting, so they still plan to make the most of it. He said he will try to do a Google Hangout or Zoom with friends while they watch. Mostly, he hopes people will still dance along at home.”
“He took the billy club they beat him with at Selma and turned it into a baton, a relay man running toward that promise in our founding documents that says all men are created equal when the word “all” really meant some and not others.”
Suggested viewing: Good Trouble, the documentary directed by Dawn Porter.
– Rachel Eggers, SAM Associate Director of Public Relations
“The film’s visceral urgency builds through a visual accumulation of histories. His technique calls attention to the ways that history converges with the present, often by unearthing and revisiting images that portray the brutalities many prefer not to see.”
Our friends down on the waterfront, the Seattle Aquarium, have reopened. The Seattle Times’ Chris Talbott talks with visitors and Aquarium leaders, including director of conservation programs and partnerships Erin Meyer, about how it’s going.
“‘Reopening is about reconnecting with our mission inspiring conservation of our marine environment,’ Meyer said. ‘And we can’t do that without being able to interact with guests.’”
“But the greater and more urgent question dangling here is: When is a public artwork an embellishment and when is it an eyesore? Arguments about patriotism and freedom, rights and responsibilities as well as what public art should do, and represent, have been thrown into high relief in 2020.”
“When I’m inside CHOP, I feel like I’m being watched—by the nation, by police, by the government, by history, by those we are fighting for. The whittling away of Floyd’s other features, leaving just his eyes, seems to underscore that idea: Floyd is present, here, watching over us.”
“As I look at these images, I can envision how the photographers shifted their focus to construct new works or culled their own archives to revisit ideas — seeking answers to their own questions about one’s sense of self and responsibility during this unspeakable time.”
Listen in as artist Teresita Fernández joins Amada Cruz, SAM’s llsley Ball Nordstrom Director and CEO, for a virtual salon. This talk took place just days before our country erupted in protest of systemic racism and touches on how Teresita has been addressing America’s long history of power and oppression in her public artworks as well as within her current installation at the Pérez Art Museum. Featuring artworks created between 2005 and 2017, this exhibition includes “Fire (United States of the Americas).” Made shortly after the election of Donald Trump but referencing an 1848 treaty with Mexico that drastically altered the maps and notions of our present day nation states, “Fire” is a timely and haunting vision of how ideas of land and ownership impact concepts of who the public is when we talk about public art. This important conversation asks us to consider our role as viewers in understanding and shifting our own perspectives.
MacArthur fellow, Teresita Fernández is renowned for her immersive installations that seduce the viewer with their beauty but serve as a reminder of how landscapes contain history, violence, and power. Here, in Seattle, she is known for her stunning work commissioned for SAM’s Olympic Sculpture Park, “Seattle Cloud Cover.” This salon was originally presented as part of SAM’s Contributors Circles Members Salon Series. A benefit to our generous Contributor Circles Members, we are pleased to share this intimate salon with all of you while you stay home home SAM.