The Stranger’s Jas Keimig has an exit interview with Emily Zimmerman, as the director of the University of Washington’s Jacob Lawrence Gallery heads to the University of Pennsylvania’s Arthur Ross Gallery.
A long read from Noema Magazine: “Over a hundred miles southeast of Los Angeles, alongside the Salton Sea, Bombay Beach is a stretch of mud and sand wracked by hazardous dust storms, trash-filled lots and the smell of fetid algae. Its shores are also home to a burgeoning, surrealist art hub.”
“Working in the decades between Hiroshima and the American buildup in the Vietnam War, Giacometti portrayed an emaciated, uprooted, and pock-marked humanity living in a world on the brink — a precarious state of existence at least partially reprised by the biggest land war in Europe since Hitler.”
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.”
“I find the body an interesting repository for different changes,” Di Pietrantonio said. “Many artists are really thinking about … [the] emotion of the body and expanding the body as part of the landscape or rethinking the parameters of the body. I felt that the body and thinking about emotions was very important to connect to activism.”
“To me, this opportunity comes in the middle of the pandemic, in the middle of API (Asian Pacific Islander) hate, you have January 6,” he says. “It is about ‘what are you going to do in this moment?’ The cultural capital, the social capital (of the Wing Luke) is the Batmobile. What is going to happen in the next year? It is going to take strong institutions like Wing to get through this.”
“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.”
“It focuses particularly on modern contemporary artists that are activist artists that are emboldened and trying to change norms within society,” Di Pietrantonio explained. “I decided upon the theme based on current events, and what I thought Seattle audiences would be drawn to during this particular time.”
And save the dates: Curiocity shares that SAM has announced its lineup of 2022 exhibition openings, including an exhibition on sculptor Alberto Giacometti this summer and a dual exhibition on Dawoud Bey & Carrie Mae Weems this fall.
Grace Gorenflo of the Seattle Times on 10 years of “creative aging” programs at the Frye Art Museum “that allow individuals living with dementia to foster friendships and community through art.”
“Randy Rowland participated in multiple Creative Aging classes with his wife, Kay Grant Powers, before her death in 2019…‘My wife declined for a long time, and I hadn’t seen her operate at that level for a while. And then all of a sudden, there she was, kind of waxing poetic and talking about the painting that we’re looking at,’ he said.”
Inter/National News
Artnet has been sharing news out of Ukraine and impacts of the war on its cultural people and places, including an opinion piece from Olesia Ostrovska-Liuta, the director general of Kyiv’s Mystetskyi Arsenal National Art and Culture Museum Complex, who wrote about what’s going on there and how others can help.
Frieze has a video exploring the work of Woody De Othello, in which he explores “the emotion of everyday objects.” A sculpture by this rising art world star was recently acquired by SAM for its collection.
“Chief Curator Asma Naeem, one of the people who came up with the idea of security/curators, says they pick up lots of insights, and pass them along to visitors. Naeem remembers her early days of museum-going. ‘For me, walking into a museum for the first time was something very intimidating.’ Guards helped. ‘I felt like I could go up to one of the guards and hear their observations and comments, and just ease into being a visitor.’”
In celebration of Black History Month this February, we gave our Instagram followers an up-close look at artworks in Lauren Halsey, on view at our downtown location through July 17. Check back next month, as we choose a new SAM gallery to walk through as part of our live #SAMSnippets series and appreciate art from any location!
Highly attuned to growing gentrification in her neighborhood of South Central Los Angeles, 2021 Gwendolyn Knight | Jacob Lawrence Award winner Lauren Halsey, who studied architecture and art, celebrates Black culture by making space for representations of the people and places around her as a method of creative resistance. In her installation at SAM, the artist shows works in which proud declarations of Black-owned businesses intermingle with images of Egyptian pyramids, the Sphinx, pharaohs, and queens, all drawn from a personal archive Halsey has developed through research and community interactions.
Photo: Natali Wiseman.
The tour begins with a look at four carved gypsum relief panels which line the perimeter of the gallery. These four works—all untitled and created between 2019 and 2022—are reminiscent of temple walls. Each of these panels features fictional advertisements for local Black-owned businesses in South Central Los Angeles.
The final work shown in the video acts as the centerpiece to the gallery. This large-scale sculpture of colorful boxes stacked atop one another represent the metaphorical building blocks for future architecture while resonating with imagery from the past.
Photo: Natali Wiseman.
Through her archive and daily life, Halsey strives to record the unique expressions of her neighborhood before the forces of capital erase them. Placing these hyperlocal portraits, signs, and imagery in the context of real and imagined histories, the artist remixes ancient and contemporary cultures into a unifying vision.
“On a recent Sunday afternoon, three art critics sniffed, prowled, jumped and climbed their way through a new exhibit. Khione gravitated to a colorful installation featuring cloth orbs and plastic linked chains. Oliver climbed on top of an austere, spiraling sculpture made out of 4x4s, plywood, masonite and carpet. And Luna sat in a small separate room, processing her impressions.”
Inter/National News
Via Artnet: Another Super Bowl “friendly wager” of art sees a Robert Henri painting from the Cincinnati Art Museum heading to LA’s Huntington Library. SAM’s adventures in Super Bowl-ing in 2014 and 2015 are mentioned.
Tatler names “4 Power Couples of Design” from history, including the architects of the 1991 Seattle Art Museum building, Denise Scott Brown and Robert Venturi.
“Halsey said it was one of her dreams in life to design a stage for Clinton to perform on that would match the scale of the maximalist P-Funk concerts of the 1970s. And why not? If nothing else, Clinton’s career has been an ongoing argument that anything is possible. He has a handful of live performances on the horizon, and when asked if he was planning to ever go back on tour, Clinton responded, ‘Oh, hell, yeah.’”
The SAM Research Libraries strive to develop digital collections that represent our unique holdings. Here, volunteer Kirsten Painter, discusses her efforts to digitize a unique set of slides that represents the 18th century French porcelain collection of two local collectors, Dr. Ulrich and Stella Fritzsche, and features objects now on view in SAM’s Porcelain Room. Digitization is a key method of preservation for unstable photographic media, and, in this case, preservation was especially necessary as this slide collection is the only visual evidence we have of the collection prior to it being dispersed to museums throughout the world.
A new digital exhibit from the Seattle Art Museum Research Libraries offers an illustrated introduction to the world of eighteenth-century porcelain. The exhibit showcases the Dr. Ulrich and Stella Fritzsche Collection of eighteenth-century works from the Vincennes and Sèvres Porcelain Manufactories, including several objects now in the Seattle Art Museum.
Snake-Handled Bowl, ca. 1750, Vincennes Porcelain Manufactory, gift of Ulrich and Stella Fritzsche, photo by Ted D’Arms, SAM Online Object Collection no. 95.53.
The exhibit offers a fresh view of collecting itself, including Dr. Fritzsche’s philosophy of art collecting and illustrated anecdotes about several of the pieces in his collection. In Dr. Fritzsche’s view, the collector is merely a “temporary guardian” of the art: “You live with the artwork for a while, you preserve it, then you pass it on. It doesn’t belong to you forever.”1
With high-resolution images of several dozen exquisite porcelain pieces, accompanied by explanations of décor, style, color, marks, and historical context, the Fritzsche Porcelain Exhibit also serves as a useful digital guide to anyone wishing to learn more about porcelain history or terminology.
Two Bouillard Cups (gobelets Bouillard), 1753, Vincennes Porcelain Manufactory, painted by André-Vincent Vielliard aîné (active 1752–90), photo by Ted D’Arms.
With high-resolution images of several dozen exquisite porcelain pieces, accompanied by explanations of décor, style, color, marks, and historical context, the Fritzsche Porcelain Exhibit also serves as a useful digital guide to anyone wishing to learn more about porcelain history or terminology.
Diamond-Shaped Breakfast Service (déjeuner losange), 1763, Sèvres Porcelain Manufactory, painted by Charles Louis Méreaud (active 1756–80), photo by Ted D’Arms.
Dr. Fritzsche’s journey as a collector began by chance in 1974, when he happened upon a small tea set in a Seattle antique store run by the artist Jay Steensma; Dr. Fritzsche credits Steensma for inspiring him to become a collector.2
Square Openwork Tea Service (déjeuner carré à jour), 1761, Sèvres Porcelain Manufactory, painted by Louis-Jean Thévenet père (active c. 1741–77), photo by Ted D’Arms.
From then on, Dr. Fritzsche aimed not just to assemble a significant collection of porcelain, but also to conduct extensive research about each piece: his philosophy of collecting involved “chasing a piece down and finding out everything about it that I could.”3
Tea Canister (boîte à thé), n.d., Sèvres Porcelain Manufactory, photo by Ted D’Arms.
It was on Dr. Fritzsche’s initiative that the French Porcelain Society was founded by Kate Foster (Lady Davson) in 1984.4 Read more about Dr. Fritzsche’s experience as a collector here.
Pomade Pot with Ornaments (pot à pommade à ornements), 1766, Sèvres Porcelain Manufactory, painted by Étienne Evans (active 1752–1806), photo by Ted D’Arms.
Among the items highlighted in the Fritzsche Porcelain Exhibit are seven objects in SAM’s collection, on display in the Porcelain Room, such as the magnificent blue Flower Vase (cuvette à fleurs Courteille), which originally belonged to Madame de Pompadour, and is notable for its painting of the maritime Battle of Solebay. Julie Emerson credits Dr. Fritzsche himself for unearthing this object’s relation to Madame de Pompadour’s inventory, while the vase was part of his collection.5
Flower Vase (cuvette à fleurs Courteille), 1755–56, Vincennes Porcelain Manufactory, painted by Louis-Denis Armand aîné (active 1745–88), photo by Ted D’Arms, SAM Online Object Collection no. 99.8.
More easily overlooked, but exquisite in its minuteness, is the Three-Legged Teapot(théière à trois pieds), located in the “Early Porcelain” case on the left (northern) wall of the Porcelain Room.6 Its white body, gilded with a fanciful bird design, stands on paw-like feet with gilded toes. Its surprisingly tiny size could be due to the eighteenth-century custom of brewing a small, concentrated amount of tea, to be later diluted with hot water,7 a custom still prevalent in Russia, among other places. Dr. Fritzsche tells the colorful story of how he acquired this rare teapot in Paris here.
Three-Legged Teapot (théière à trois pieds), ca. 1750–51 (body); 1753–60 (lid), Vincennes & Sèvres Porcelain Manufactories, gift of Ulrich and Stella Fritzsche, photo by Ted D’Arms, SAM Online Object Collection no. 99.71.
Just to the right of the little Teapot in the “Early Porcelain” case is the elegant Sugar Spoon(cuillière à sucre), whose dual gilded handles are intertwined like sinuous vines. Such spoons, designed most likely by Jean-Claude Duplessis, the artistic director at Sèvres, were exceedingly rare due to the fragility of the handle.8 Stella Fritzsche notes that this spoon was one of her favorite pieces in their entire collection. Read more about Stella Fritzsche’s memories of their collecting years here.
Sugar Spoon (cuillière à sucre), 1752–54, Vincennes Porcelain Manufactory, gift of Ulrich and Stella Fritzsche, photo by Ted D’Arms, SAM Online Object Collection, no. 2005.177.
Another inherently fragile structure is the footed eggcup on a narrow stem; like the spoon, it is rare because easily breakable, so this style was later replaced with a more durable footless eggcup model.9 Two such footed Eggcups (coquetiers à pied), on slender stems, each adorned with colorful painted flowers, are in the “Botanicals” display case, on the right (southern) wall of the Porcelain Room.
Two Eggcups (coquetiers à pied), ca. 1755, Vincennes Porcelain Manufactory, gift of Ulrich and Stella Fritzsche, photo by Ted D’Arms, SAM Online Object Collection nos. 95.54.1, 95.54.2.
The Litron Cup (gobelet litron), delicately painted with Chinoiserie décor, is an eye-catching embodiment of the eighteenth-century fad for the Chinese style. It stands prominently at the center of the “West Meets East” display case in the Porcelain Room (left/northern wall). This teacup shape, the Litron Cup(gobelet litron), was the most frequently produced at the Sèvres factory; its straight-sided, cylindrical form was modeled after a traditional wooden measuring cup for salt and grains.10
Litron Cup (Litron Cup; gobelet litron), 1778, Sèvres Porcelain Manufactory, gift of Ulrich and Stella Fritzsche, photo by Ted D’Arms, SAM Online Object Collection no. 2005.179.
The Fritzsche Collection contains several examples of the litron teacup style. Read more in the exhibit about other shapes of teapots and teacups (Calabre Teapot, Bouillard Cup), and eighteenth-century tea-drinking habits.
Litron Cup and Saucer (gobelet litron et soucoupe), ca. 1764, Sèvres Porcelain Manufactory, painted by Fallot (active 1764–90), photo by Ted D’Arms.
Aside from the objects from the Fritzsche Collection now in SAM’s Porcelain Room (read the complete list here), the Fritzsche Collection contains almost 100 images of porcelain now residing in museums and collections worldwide.
The rich histories of selected distinctive pieces, such as the Catherine the Great Service, are highlighted in the exhibit. Some objects have unexpected backstories. The hunting scene on the pink Wine Bottle Cooler was likely inspired by Jean-Baptiste Oudry’s tapestries, and may represent King Louis XV on a stag hunt.11 Read more in the exhibit regarding the way scenes of hunting parks underscored Louis XV’s domestic agenda and persona as the “hunter-king.”12
Wine Bottle Cooler (seau à bouteille), 1758, Sèvres Porcelain Manufactory, photo by Ted D’Arms.
The Fritzsche Collection contains a rich variety of bird imagery, from the scientifically inspired Buffon birds on Dodin’s Partridge-Eye Plate(assiette, œil de perdrix) to the fantastical, extravagantly plumed birds on pieces by Thévenet and Chappuis.
Delving back into the forgotten lives of the porcelain painters and gilders who decorated these objects, the exhibit also attends to life within the factory community itself. Some of the artists arrived at Vincennes or Sèvres as apprentices, as young as age nine, and stayed there for their entire lives; their wives and children often worked at the factory as well.13 The exhibit includes biographies of these little-known figures and an illustrated sampling of the evocative, mysterious painters’ marks that have fascinated porcelain scholars for generations.
Marks for Plate from the Catherine the Great Service, 1782, Sèvres Porcelain Manufactory, painter Jean-Baptiste Tandart aîné (active ca. 1754–1803), gilder Michel-Barnabé Chauvaux aîné (active ca. 1753–88), photo by Ted D’Arms.
Focusing also on technique, the exhibit discusses methods for firing and glazing, the usage of different shades of blue, and a variety of decorative methods, such as œil de perdrix, rose marbré, vermiculé, and caillouté.
Duplessis Tray (plateau Duplessis), ca. 1765, Sèvres Porcelain Manufactory, photo by Ted D’Arms.
The Fritzsches documented their collection with an array of slides, taken by the photographer Ted D’Arms, which they have donated to SAM’s Dorothy Stimson Bullitt Library, along with Dr. Fritzsche’s extensive Collector’s Notes, and the Fritzsche Library on Decorative Arts, comprising his entire collection of scholarly reference works on porcelain.
Litron Cup with Dolphin Handles (gobelet litron), Detail, n.d., Sèvres Porcelain Manufactory, photo by Ted D’Arms.
The Fritzsche Porcelain Digital Collection was created between 2017 and 2020. The project included digitization of Dr. Fritzsche’s slides, interviews of the Fritzsches from 2018–19 about their lives as collectors, research into the historical context and style of pieces in the collection, and creation of an exhibition website meant to provide broader context to this magnificent collection, both within the eighteenth century when these objects were made, and within the twentieth century when they were most recently collected.
Half Wine Bottle Cooler (seau à demi-bouteille), n.d., Vincennes Porcelain Manufactory, photo by Ted D’Arms.
– Kirsten Painter, SAM Volunteer, Dorothy Stimson Bullitt Library
1 Ulrich Fritzsche, interview conducted and transcribed by Kirsten Painter, Seattle Art Museum Bullitt Library, November 12, 2019.
2 Ibid.
3 Ibid.
4 “Inspired by the collector Ulrich Fritzche of Seattle, who organized a first informal dinner, our founder’s goal was to bring together collectors, museum curators, dealers, auction specialists and enthusiasts so they could enjoy each other’s company, share their passion for French porcelain, and promote its study” (“Our History,” The French Porcelain Society, 2021, https://www.thefrenchporcelainsociety.com/about-us/our-history/).
5 Julie Emerson, “Victory at Sea: A Vincennes Cuvette Painted with a Battle-Scene,” French Porcelain Society Journal 3 (2007): 66n19; Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives/Special Collections (Seattle, 2018), 7, https://samlibraries.omeka.net/items/show/2991.
7 Denis Diderot, Encyclopédie (1757–80), cited in Rosalind Savill, The Wallace Collection: Catalogue of Sèvres Porcelain (London: Trustees of the Wallace Collection, 1988), 2:490.
8 Svend Eriksen, Davids Samling: Fransk porcelæn/The David Collection: French Porcelain (Copenhagen: Davids Samling, 1980), 66; Svend Eriksen and Geoffrey de Bellaigue, Sèvres Porcelain: Vincennes and Sèvres 1740-1800, trans. R. J. Charleston (London: Faber and Faber, 1987), 275.
9 Eriksen and De Bellaigue, Sèvres Porcelain, 305.
10 Rosalind Savill, The Wallace Collection: Catalogue of Sèvres Porcelain (London: Trustees of the Wallace Collection, 1988), 2:501.
11 Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives/Special Collections (Seattle, 2018), 14, https://samlibraries.omeka.net/items/show/2991; The Huntington Art Museum Catalog Online, The Huntington Library, Art Museum, and Botanical Gardens (San Marino, CA), no. 27.52, accessed August 2021, http://emuseum.huntington.org/collections.
12 Julie Anne Plax, “J.-B. Oudry’s Royal Hunts and Louis XV’s Hunting Park at Compiègne: Landscapes of Power, Prosperity and Peace,” Studies in the History of Gardens & Designed Landscapes 37, no. 2 (2017): 102–19, doi: 10.1080/14601176.2016.1169709; Colin Bailey, “A Long Working Life, Considerable Research and Much Thought: An Introduction to the Art and Career of Jean-Baptiste Oudry (1686–1755),” in Oudry’s Painted Menagerie: Portraits of Exotic Animals in Eighteenth-Century Europe, ed. Mary G. Morton (Los Angeles: J. Paul Getty Museum, 2007), 10.
Imogen Cunningham often took photographs of unsuspecting strangers on the street. Uncomfortable with confrontation, she found beauty in capturing daily public life without interference. At times, she used windows, spun around, or bent over and pretended to be searching for something in her purse to distract from the sound of her camera’s click. She called these surreptitious photographs “stolen pictures.”
Double Image, Sutter St. and Fillmore marks a stark contrast from Cunningham’s typical street photographs. In this image, her subject—a Black woman dressed in a long coat, stockings, and heels—has spotted Cunningham. Waiting for the bus, her right eyebrow is raised as she looks directly into the camera.
The woman’s stare is intensified as the image is cleverly reflected off of a storefront window, dividing the composition down the center, and creating a “doubled” illusion. Cunningham was fascinated with this effect and often used mirrors or glass to create this perspective.
In this audio recording produced by the J. Paul Getty Museum, Chris Johnson, chair of the photography department at the California College of the Arts, discusses Cunningham’s “stolen pictures” and the changing dynamic shared between Cunningham and her subject after being spotted. Tune in to all 13 recordings as part of the free smartphone tour of Imogen Cunningham: A Retrospective when you visit the exhibition at our downtown location through February 6.
Double Image, Sutter St. and Fillmore, ca. 1940
Narrator: Taken in Cunningham’s San Francisco neighborhood, this photograph captures two figures waiting for a bus. On the right, a man wearing a hat holds a paper bag. In the center, a woman stands dressed in a winter coat with her purse at her feet.
Chris Johnson: She’s giving Imogen a very strong direct gaze and there’s nothing reticent about that gaze and I think Imogen liked that because she was a strong outspoken woman herself.
Narrator: The image is doubled in the reflection of the storefront window on the left. Cunningham was fascinated with this effect, something she first encountered in the compositions of eighteenth-century Japanese prints. She often used mirrors or glass to create this perspective. The doubling effect places the woman in the center of the image and creates a dynamic between individuals, including the photographer.
Chris Johnson: The implied relationship between the photographer and the woman who’s giving her that gaze… between the black woman and the white man who is presumably ignoring both of them,Imogen and this black woman are in their own world. The white man is in his other world. He has his back turned to us. So Imogen is affirming her allegiance to this black [woman] and I really think the meaning of the image resides there.
Narrator: These “stolen pictures”, as Cunningham called her street scenes, were sometimes taken without the subject’s knowledge and represented a stylistic departure for her. But in this case, the central figure directly confronts Cunningham, and us.
Chris Johnson: Isn’t this a clear example of photographic seeing, you know, the way that the camera sees differently than the way eyeballs see?
“Imogen was always after capturing a moment in time. It wasn’t a perfect moment—it was just a moment that spoke to her.”
– Meg Partridge
Hear Meg Partridge, Imogen Cunningham’s granddaughter and Director of the Imogen Cunningham Trust, discuss one of her favorite Cunningham photographs, Ruth Asawa Family and Sculpture. Capturing Asawa at work in her studio with her young children beside her, the photograph, explains Partridge, illustrates the close relationship Cunningham shared with the Asawa family and marks a contrast from many of the major themes Cunningham explored throughout her career.
Accompanying this image in the exhibition are seven sculptures created by Ruth Asawa herself. On view for the first time in Seattle and exclusive to this venue, the works demonstrate the inextricable link between these two artists as Cunningham’s photos of Asawa’s sculptures gained widespread attention for the artistic pursuits of both women.
Hands play a prominent role in the work of Imogen Cunningham. Many of her most recognizable photographs focus on the movement of hands and their connection to the body. In Hand Weaving with Hand, the shadow of a hand with spread fingers protrudes from the lower left side of the image. Although the majority of the photograph is composed of a thin, rumpled fabric with vertical stripes, it is the ambiguity of this shadowed hand which captures the viewer’s attention.
Tune in to this audio recording to hear nonbinary Black transfem choreographer and dancer Randy Ford explore Cunningham’s use of hands throughout her work and relate it to her own dance production, Queen Street. Hear this and other audio recordings as part of the free smartphone tour of Imogen Cunningham: A Retrospectivewhen you visit the Seattle Art Museum.
Hand Weaving with Hand, 1945
Narrator: While the right side of this photograph is dark, filled with billowing folds of a draped cloth, the left portion is backlit, and the fabric hangs flat. Behind the weaving, a light silhouettes a hand with fingers splayed. This hand is what first caught the eye of Seattle native Randy Ford, a dancer and choreographer.
Randy Ford: So I just think the hands are very interesting. You know, we create a lot of things with our hands. You know, we draw. We open doors. We close doors. We celebrate with our hands. They just play a really huge part in our lives and choreograph what we do every day. I don’t think of dance as just something that you do with your legs and your body and your torso. You know you can do a lot of expressing with just your hands, which is probably just why I again gravitated toward this shadow of a hand on this masterpiece of a sheet. The hands really kind of direct us a lot of places.
Narrator: In her portraits, Cunningham often zeroed in on hands—tickling the keys of a piano, delicately playing a violin, or shaping the rim of a clay pot. This singular, open palm appears to almost clap the suspended weaving. Is this the hand that made it? Is it presenting the cloth proudly… lovingly? As with so many of Cunningham’s photographs, the layering—in this case of fabric, lighting, and shadow—and ambiguity allow for multiple interpretations. Randy Ford, who recently told her own complex transition story in her dance production, Queen Street, can relate.
Randy Ford: I love making work that, is definitely visually appealing, but I also want people to realize what they’re looking at or maybe where their feelings are coming from. There’s definitely just a lot of depth within this simple-looking image and that’s why I chose it. It was very simple but still complex. It had like a little bit of a story. It invoked something about creation for me as a choreographer and director and an artist myself. I always kind of just wonder what are the beginnings of things? You know, things aren’t just the way they are just because they appear to us.
– Lily Hansen, SAM Marketing Content Creator
Photo: Hand Weaving with Hand, Imogen Cunningham, 1945. Gelatin silver print, Image: 13 1/4 x 9 1/2 in. Collection of The Imogen Cunningham Trust.
“‘The thing that’s interesting is because this uncertainty is still in place, we still don’t know what those changes are going to be,’ Cruz said. ‘We have learned that we have to be nimble, and we’re learning to be nimble.’”
French fashion designer Thierry Mugler died at the age of 73. His sci-fi couture is currently on view at the Musée des Arts Décoratifs in Paris; see images from the show at Artnet.
“It’s exceedingly common for artists’ output in popular, ephemeral contexts—cartooning, illustrating, advertising, and the like—to be taken less seriously than their endeavors in more traditional artistic media. In this case, that needs to change, and Bearden’s images should be kept in mind as the conversation about Guston continues to play out.”
In June 1920, Imogen Cunningham’s husband, Roi Partridge, accepted a teaching position in the art department at Mills College, a private liberal arts school for women in Oakland, California. With their three young sons, Cunningham and Partridge moved from San Francisco to an old house situated near campus which initially had neither plumbing nor electricity.
While in Oakland, Cunningham established herself as a well-educated woman and progressive role model in the community. She offered Mills College students uncensored advice about their professional aspirations and her home came to be recognized as a safe haven for private discussions about sexuality and family planning.
One important stream of income for Cunningham at this time was photographing Mills College student portraits, dance performances, and campus architecture. Her photograph, Mills College Amphitheater (ca. 1928), captures the curved concrete design of the college’s outdoor auditorium. The image, likely inspired by the work of American photographer Paul Strand, plays with abstract geometric forms created by sunlight and shadows.
In this audio recording from the free smartphone tour of Imogen Cunningham: A Retrospectiveat the Seattle Art Museum, nonbinary black transfem choreographer and dancer Randy Ford discusses the significance of this image within Cunningham’s larger body of work. She points out Cunningham’s decision to forgo photographing the amphitheater’s stage, opting instead to play with the shadows and sunlight of the empty audience.
Mills College Amphitheater, ca. 1928
Randy Ford: My name is Randy Ford. I use she/her and goddess as pronouns, and I’m a nonbinary Black transfem, just out here trying to live and make art that’s going to change the world.
Narrator: Imogen Cunningham’s photo of an outdoor amphitheater reminded Randy, a choreographer and dancer, of the Langston Hughes Performing Arts Institute in Seattle where she staged her first full-length performance, Queen Street.
Randy Ford: I’m also a Greek drama nerd, and so this just looks like a Greek amphitheater like back in the day. It looks like a coliseum.
Narrator: The photograph was actually taken at Mills College, a women’s liberal arts college in Oakland, California, where Cunningham’s husband taught. She often photographed architectural elements on campus, including the amphitheater. There is no stage in Cunningham’s abstract interpretation. Instead, we see only curved concrete rows and rectangular steps highlighted by sunlight and shadows.
Randy Ford: Cunningham was very much just like, yeah, you know, the audience is the show. It’s not always about what’s on stage. It’s kind of like what’s the environment? What’s the tone? What time of day is it? Was this right before the performance? Was this an empty show where no one showed up? Audience plays a huge role in live performance. As a live performer, I live for an interactive audience. Just let me know you’re here. Let me know you feel me because, performers are also humans.
– Lily Hansen, SAM Marketing Content Creator
Photo: Mills College Amphitheatre, Imogen Cunningham, ca. 1928, Gelatin silver print, Image: 8 1/8 x 12 1/4 in, Collection of Gary B. Sokol.
In 1950, Imogen Cunningham’s son Randal introduced her to Japanese-American artist Ruth Asawa. Despite their 43-year age difference—Asawa was 24 and Cunningham was 67 at the time—the two artists quickly developed an unbreakable bond.
“Asawa and Cunningham placed a priority on relationships and refused to choose between the life of family and their art,” explained art historian and curator Daniel Cornell of their friendship. “They shared a similar fate as the critics who labeled their work feminine as a way to suggest its inherent inferiority to the work of male artists.”1
Over the next two decades, Cunningham and Asawa’s careers regularly intertwined. For the cover of the June 1952 issue of Arts & Architecture magazine, Cunningham photographed a few of Asawa’s wire sculptures, developed four individual prints, and mounted them on a single board. In 1964, Aperture magazine used a photograph Cunningham had taken of another of Asawa’s sculptures on the cover of its winter issue.
Imogen Cunningham’s photograph for the cover of Arts & Architecture featuring Ruth Asawa’s sculptures on view at SAM. Photo: Natali Wiseman
In a drafted letter recommending Asawa for a Guggenheim Foundation grant, Cunningham wrote of her friend: “However remote and obscure Ruth Asawa’s project may seem to most of us, I have very strong reasons to believe that she can achieve a real improvement in building ornament by carrying it out… To me, she is what I call an unfailingly creative person and there are very few of them.”2
Listen to this audio recording to discover the backstory of one particular photograph Cunningham took of Asawa and her family in 1957. Produced by the Seattle Art Museum, this recording includes a discussion by Japanese and Chinese Canadian photographer Kayla Isomura on the significance of Ruth Asawa Family and Sculpture and its influence in her own work. Learn more about this image from SAM’s personal collection and Ruth Asawa’s legacy here, then see it on view alongside Ruth Asawa’s sculptures now in Imogen Cunningham: A Retrospective at SAM through February 6.
Ruth Asawa Family and Sculpture, 1957
Narrator: Photographer Kayla Isomura.
Kayla Isomura: I really enjoyed this image actually because of how candid and sort of natural it is, and it’s so every day in a way, but there’s also this interesting juxtaposition of just the art that takes up so much of the space. I’m not even sure if I should be looking at the sculpture or the kids, but I think just all of that put together, for me it just seems very intriguing as an image.
Narrator: Cunningham often photographed Asawa’s sculptures, but this image incorporates the domestic studio. Beneath the central sculpture sits a baby drinking from a bottle and a girl with a stick. Partially hidden by the suspended work, a third child watches as his mother pulls wire from a spool to begin another looped sculpture. A fourth child crouches on top of a low table.
Kayla Isomura: It doesn’t feel like the family or the kids are necessarily aware that the camera is there. They’re just kind of doing their own thing.
Narrator: Like her sculptures, in which open weaving reveals forms inside the forms, multiple facets of Asawa’s life are on view. You can see several of Asawa’s sculptures in this gallery. Asawa, her parents, and five siblings were among approximately 120,000 Americans of Japanese descent incarcerated during World War II. In her work, The Suitcase Project, Kayla, a fourth-generation Japanese and Chinese Canadian, asked Japanese Americans and Canadians what they would pack if they were forced into an internment camp. The process raised questions about the complex relationships among artist, subject, and identity.
Kayla Isomura: Something that in recent years that I’ve really come to consider is this sort of question of who is allowed to do this work. Do you have that connection, or do you feel this as part of your identity if this is what you want to do? Or can you work with somebody who has a closer connection if you do not?So is it enough that the subjects in their work, are maybe being represented? Or, does it matter equally as much that the person behind the work, you know, has that direct connection, to whatever it is that they’re documenting? And I think those are the questions that I have.
You’ve got just under a month to see Imogen Cunningham: A Retrospective, closing February 6 at SAM! Catch up on why this exhibition is a can’t-miss with KING5; curator Carrie Dedon recently appeared on both New Day NW and Evening Magazine to share her love for the photographer.
“Folding, wrapping, layering, and weaving are part of some of life’s most important events in Japan: birth, marriage and death. At such significant times in one’s life, the care taken to fold, wrap and layer shows respect and consideration. This carefulness, and astounding craftsmanship, is on full display at the exhibition.”
“This is so, so, so important for giving voice to people who might not have a voice in our society,” [Shunpike Executive Director Line] Sandsmark said. “I’ve been in many situations where I’ve been able to see how impactful the arts are in really supporting a healthy society. It’s a wonderful way to make the space available and accessible to people, to artists, who have lost so much space, who have been displaced because of gentrification, to focus on and create more opportunity for those who have had less opportunity in the past.”
Inter/National News
The lede from Artnet’s Sarah Cascone: “A year ago, before the smoke had fully cleared after a group of insurrectionists stormed the Capitol building, curators and historians were already grappling with the complicated question of how best to preserve the historical record.” Read the rest about the rapid-response collecting for January 6 artifacts.
“The 717-gigapixel photo allows viewers to zoom in on Captain Frans Banninck Cocq and see how the 17th-century master put the tiniest of white dots in his eyes to give life to the painting’s main character. It also shows the minute cracks in his pupils, brought on by the passage of time.”
“The story that’s happening right now is we are in a struggle to be more human.”
– Barbara Earl Thomas
For more than a year, SAM visitors were mesmerized by the intricate and detailed cut-paper artwork of Seattle-based artist Barbara Earl Thomas in The Geography of Innocence. On the final few days of the installation, SAM sat down with Thomas to discuss how her breathtaking installation came together.
Watch this video to learn about the importance Barbara placed on bringing light into her work, her experiences working with children as models, the story behind the catechism in the installation, and the lessons she hopes her portraits impart.
In Self-Portrait with Grandchildren in Funhouse, Imogen Cunningham captures a moment of joy with two of her young grandchildren, Joan and Loren, as they experiment with the effects of a warped mirror. Despite the playful nature of the image, Cunningham remains stoic in photographing herself. Her face points down as she looks into the viewfinder of her black and silver-lined rectangular camera which she steadies with both hands. She is small in comparison to her grandchildren, whose elongated arms stretch the entirety of the image, but identifiable by her white hair, gemmed cap, and metallic glasses.
Tune in to this audio recording to hear Imogen Cunningham’s granddaughter, Meg Partridge, discuss Cunningham’s relationship with her grandchildren. Produced by the J. Paul Getty Museum, Partridge describes how this image came together and emphasizes Cunningham’s signature artistic style. Listen to this and other audio recordings as part of the free smartphone tour of Imogen Cunningham: A Retrospectivewhen you visit the exhibition at the Seattle Art Museum through February 6, 2022.
Self-Portrait with Grandchildren in Funhouse, 1955
Narrator: An outing with two of her granddaughters and a fun house mirror provided Imogen Cunningham with an irresistible subject. Meg Partridge, granddaughter of Imogen Cunningham.
Meg Partridge: Imogen was really being very playful as she always was with photography.
Narrator: Partridge was only two when this photograph was taken, and too young to tag along. Instead, we see her older sister Joan, in the middle with both hands raised, and her cousin Loren, on the right with a hyper-elongated arm.
Meg Partridge: Imogen did not spend a lot of time taking grandchildren places and doing grandmotherly-like things. She enjoyed children once they became, as I would say, of interest to her. They could be articulate. They could have opinions. They could share thoughts.
Narrator: Cunningham worked while raising her three sons, and continued to do so once their children came along.
Meg Partridge: Looking at her work, you can see some of the same subjects coming in again and again. So we see many photographs of Imogen looking into her camera and photographing herself in a reflection or often in a shadow as well.But another is a very sort of surrealistic view that she took with her camera.
Narrator: Unlike the distorted versions of her granddaughters, her reflection in the self-portrait remains relatively true. We get just a glimpse of her grey hair beneath an embroidered cap and one-half of her eyeglasses, as her hands adjust the dials on her ever-present rolleiflex camera.
Meg Partridge: She was able to capture great shots that were unexpected because she had a camera around her neck and she just always wore it.
When talking about biblical studies, Rabbi Emily Meyer once said, “every translation is a commentary.” This is true, not only for verbal and written languages, but also for the language of visual art, particularly when it comes to biblical interpretation, where artistic design choices can change the context of the narrative. Alessandro Algardi’s Early Modern Italian relief sculpture, The Sacrifice of Isaac, is a prime example of how art can act as its own biblical commentary, both through image alone and in conjunction with verbal interpretation.
The Sacrifice, or Binding of Isaac narrative, is found in Genesis, the first book of Torah, also called the Hebrew Bible, chapter 22. In the chapter, Abraham is told by God to sacrifice his son Isaac, but he is stopped at the last moment by an angel, who tells Abraham he has proved his fear of God, and he instead sacrifices a nearby ram (or lamb in some interpretations).
In the original narrative, the angel calls out to Abraham as he is about to strike.1 Abraham simply responds, “Here I am.” Yet, in Algardi’s visual interpretation, the angel grabs onto the knife mid-swing, as if needing to physically halt Abraham’s actions, removing some of the sense of agency Abraham may have had in the original text; it is not Abraham’s choice to pause in his actions, but a result of forceful intervention by the angel. This compositional choice therefore acts as visual biblical commentary, adding to, and expanding upon, interpretations of the original text.
Similarly, Algardi chose to portray Isaac as an older adolescent kneeling on the altar with his head hung low, as if resigned to his fate. Much religious commentary has been written about Isaac’s age, as the story found in Torah does not mention any detail about Isaac, his thoughts, or his actions. Some interpretations portray him as an innocent young boy who is complacent and oblivious to his fate, others as a young man, aware and accepting of his fate. These varying interpretations can change the meaning of the narrative for different religious groups and are reflected in visual depictions across almost 2,000 years. Algardi’s Isaac falls closer to the “aware and accepting” interpretation. This tracks with Christian interpretations of the narrative, in which the character of Isaac is viewed as typological, a precursor or prefiguration to the sacrifice of Jesus. Considering that this object was undoubtedly made in and for a Christian setting, this compositional choice is no surprise.
Marc Chagall, The Sacrifice of Isaac, 1966, oil on canvas, 230 cm x 235 cm.
The Binding of Isaac, 6th century CE, floor mosaic panel, Beit Alpha Synagogue, Israel.
The Sacrifice of Isaac, 6th century CE, mosaic panel, Basilica di San Vitale, Ravenna, Italy.
It is a worthy endeavor to look at different portrayals of the Sacrifice of Isaac from across different religious groups, geographical backgrounds, and time periods to understand how the same original text may change—or maintain—meaning, representation, importance, and impact depending on its context. Each visual translation of the story, from contemporary versions like the painting by Marc Chagall, to late antique portrayals like the mosaics found in the 6th century CE Beit Alpha Synagogue in Israel and Basilical of San Vitale in Italy, truly is its own commentary.
– Abby Massarano, SAM Blakemore Intern for Japanese and Korean Art
1 10And Abraham picked up the knife to slay his son. 11The angel of the LORD called to him from heaven: “Abraham, Abraham!” And he answered, “Here I am.” 12And he said, “Do not raise your hand against the boy, or do anything to him. For now I know that you fear God, since you have not withheld your son, your favored one, from Me.” 13When Abraham looked up, his eye fell upon a ram, caught in a thicket by its horns. So Abraham went and took the ram and offered it up as a burnt offering in place of his son.” Jewish Publication Society, JPS Hebrew-English Tanakh: The Traditional Hebrew Text and the New JPS Translation, 2nd ed. (Philadelphia: Jewish Publication Society, 1999), 40.
Image: The Sacrifice of Isaac, ca. 1638-39, Alessandro Algardi, Terracotta with white paint, 31 1/2 x 22 1/4 x 4 in., Overall h.: 33 in., Overall w.: 24 in., Overall diam.: 6 in., Eugene Fuller Memorial Collection, 55.109.
In this soft-focused black and white photograph, a woman is visible from the waist-up. She sits in three-quarter profile and wears a loose, white robe which emphasizes her pale skin. This woman, who glows in contrast to the dark, hazy background which surrounds her, is miniaturist painter Clare Shepard.
Imogen Cunningham photographed her friend, Shepard, at the peak of the pictorialist movement. This movement saw photographers approach cameras as a tool—similar to a paintbrush—that made an artistic statement. Rather than capturing the real, pictorialism emphasized the beauty of a subject and an image’s composition.
In this audio recording produced by the J. Paul Getty Museum, Chris Johnson, chair of the photography department at the California College of the Arts, considers the pictorialist approach Cunningham took in creating The Dream (Nei-san-Koburi)and the romantic feelings it relays. Listen to this and the rest of the audio tourwhen you visit Imogen Cunningham: A Retrospective at our downtown location as part of the exhibition’s free smartphone tour.
The Dream(Nei-san-Koburi), circa 1910
Chris Johnson: It’s a kind of a classic, romantic, pictorialist image of a young beautiful woman.
Narrator: Chris Johnson, chair of the photography department at the California College of the Arts.
Chris Johnson: You can see that Imogen is very sensitive to the falling of light and shadow over this young woman.
Narrator: The atmosphere around her, seems to glow. Diffused light falls on her headscarf and the folds of her painter’s smock. Her eyes are half closed, as if in a trance. The close framing of the portrait keeps the background abstract. The subject is Clare Shepard, a friend and miniaturist painter.
Chris Johnson: Imogen, in her heart of hearts, was really a romantic and a romantic takes her feelings very seriously so her feelings as she was projecting them on to this young woman are pretty clear.
Narrator: The otherworldly portrait hints at Shepard’s rumored abilities as a clairvoyant. The image exemplifies pictorialism, an approach that prioritized beauty and expressiveness, composition and atmospheric effects. The movement rejected the realistic, documentary nature of photography and instead looked to painters as artistic influences.
Chris Johnson: One of the ideas behind the pictorialists was that you would use the soft-focus technique as a trope to indicate dreamy, romantic, ethereal, spiritual qualities. She’s catching this moment when Claire is lost within thought and it intends to try to draw us into the mood space that she’s occupying using pictorialist soft-focus as a formal strategy.
Narrator: When Cunningham took this portrait around 1910, Pictorialism was at its peak. Cunningham had recently opened her own studio in Seattle after studying photographic chemistry in Germany. The photograph marked a specific, early period in her career.
Chris Johnson: All of her photography subsequent to this phase is in marked contrast to the visual effects of this image.
Misha Berson wrote for Oregon ArtsWatch about the “many faces” of Imogen Cunningham on view in the exhibition, sharing some memories of spotting the artist herself out and about in San Francisco, too.
“But [Cascadia Art Museum curator David F.] Martin…said he’s had issues getting major museums to accept Nomura’s work, always getting the same response: that the paintings would better fit in a Japanese historical museum. This bothers Martin, who views Nomura as an American artist. ‘He was integrated in the art society here,” he says. “Why should I separate him by his ethnicity?’”
“Exit this year through the museum gift shop,” says the New Yorker’s Rachel Syme in her detailed list of recommendations, including the “thank you” tote from SAM Shop, which is open during museum hours and online for holiday needs!
“Although each shop shares its sensibility—and its profits—with the larger institution it is attached to, many of the smaller and funkier museum shops stuff their shelves with eccentric trinkets that echo the museum’s aesthetic more in spirit than in substance.”
Striations animate this mask to help us see the moon as a benevolent star that connects us to the world of benign dead. In simplified terms, it is said, “to chase away, or put in flight, death.” Now’s the time for it to allure Robert Farris Thompson (1932-2021), as he cartwheels his way into the cosmos, looking for a good cosmogram, as a hero of African art history should.
I first saw Bob appear at an academic conference whose schedule said a Yale professor would give a summation. When the doors to the quiet auditorium opened, a wave of people swarmed in. A Black family took seats next to me—a grandmother and her grandson—whose excitement was contagious. Once the place was packed, Bob began walking toward the podium and yelled, “Turn the lights down so they can’t see how white I am!” Then he gave a talk like none other—filled with call and response, drumming, dancing, parables in multiple languages—and the crowd cheered, laughed, and collectively sighed. Here was someone whose love of art had put him in touch with Africa and transformed him into an oracle for recognizing the depth of its teachings.
A few years later, he came to Seattle for a press conference when the museum announced its acquisition of the Katherine White Collection, which he knew well, having curated and written African Art in Motion. He admired Katherine enormously, yet he launched into revelations about the art she collected as a tribute to her, and told me, “small people talk about people, big people talk about ideas.”
He became a constant source for guidance on exhibitions and books, such as Praise Poems and Long Steps Never Broke a Back. Whenever I need a boost, I reached for research notebooks filled with his drawings and cryptic commentary, and considered another one of his sayings, “with African art, the evidence machine of Western thinking doesn’t work.”
Page from Robert Farris Thompson’s notebook from 1972 notes on the Katherine White Collection, SAM archives.
SAM hosted his exhibition, Face of the Gods: Art and Altars of the Black Atlantic World. We cared for live altars, recreated a beach altar with tons of sand, placed a cosmogram on the floor, involved priests and priestesses, and got to revel in his unpacking of iconography. We also took walks in the Central District where he would find yards that impressed him and knock on doors to say, “Hi, I’m Bob, and I’d like to talk about your artistry.”
So, if you haven’t come across his name before, I hope this might nudge you to look into his writing and thinking. We’re also reviewing recordings of his appearances in Seattle, including one about his book Tango: The Art History of Love. For now, here’s a quote from an interview he did with Rolling Stone to demonstrate his way with words. Ashe, Master T.
“[The people of Africa] stand like giants in teaching us how to live. There is a moral voice imbedded in the Afro-Atlantic aesthetic that the West can’t grasp. They don’t see the monuments, just barefoot philosophy coming from village elders. But the monument is a grand reconciling art form that tries to morally reconstruct a person without humiliating him.
These are the canons of the cool: there is no crisis that cannot be weighed and solved; nothing can be achieved through hysteria or cowardice; you must wear and show off your ability to achieve social reconciliation. Step back from the nightmare. It is a call for parlance, for congress and for self-confidence.”1
– Pam McClusky, SAM Oliver E. and Pamela F. Cobb Curator of African and Oceanic Art
Image: Kifwebe (Mask), late 19th century, Congolese, Luba, Wood, raffia, bark, pigment, twine, 36 1/4 x 24 x 12 in., Gift of Katherine White and the Boeing Company, 81.17.869.
While teaching at the California School of Fine Arts in 1957, Imogen Cunningham overheard her friend and co-worker Dorothea Lange give her students an assignment: photograph something you use every 24 hours. Inspired by the simple prompt, Cunningham returned to class the next week with a new photograph she had taken titled The Unmade Bed.
Listen to an interpretive analysis of the work from Cunningham’s close friend and collaborator Judy Dater. From the perfectly rumpled sheets to the spread out piles of bobby pins, Dater discusses how this image acts as a self-portrait of the artist and explains the reason why Cunningham often gifted a print of this image to newlyweds.
This audio recording is part of the free smartphone tour of Imogen Cunningham: A Retrospectiveat the Seattle Art Museum. Tune in to all 13 recordings when you visit the exhibition at our downtown location.
The Unmade Bed, 1957
Narrator: A rumpled sheet and blanket are thrown back to reveal a pile of hairpins and another of bobby pins. Subtle gradations vary from the crisp white sheets exposed by sunlight, to the grey wool blanket with a shimmery trim, to the completely dark background.
Judy Dater: I can’t look at that photograph and not think of it as a self-portrait, a very personal self-portrait.
Narrator: In 1957, Dorothea Lange, best known for documenting the Great Depression, was teaching at the California School of Fine Arts, now the San Francisco Art Institute. Cunningham was also teaching there when she heard her friend and fellow photographer give her students an intriguing assignment.
Judy Dater: And the assignment that, apparently, that Dorothea Lange, gave the class that day was to go home and photograph something you use every twenty-four hours. And so Imogen went home and made that particular photograph. And then when she came back the following week, she brought that in as her example.
Narrator: Did she intend it as a self-portrait? After all, those are her hair pins. Do they signify the letting down of one’s hair or one’s guard? Cunningham never said as much, but she did ascribe one message to the image.
Judy Dater: She sometimes would give that photograph to people as a wedding present so that the husband would know that the wife was going to be busy, that she had things to do, and not to expect the bed to always be made.
Narrator: Cunningham may have deliberately arranged the sheets and hairpins, or perhaps she happened upon the unmade bed exactly as she left it. For photographer Judy Dater, that’s irrelevant.
Judy Dater: She saw it and she was at the right angle at the right moment, and she knew what to do with it.
“As a woman artist on the cutting edge of her field, Cunningham’s story is an important one to tell,” says Carrie Dedon, SAM’s Assistant Curator of Modern & Contemporary Art. “She undertook artistic collaborations with Ruth Asawa and Martha Graham, and I hope viewers leave not only with an understanding of Cunningham’s innovation and experimentation, but also her collaborative and charismatic spirit.”
“‘There’s so much evidence that she embodies the ethos of a Seattleite—being adventurous, being a free thinker and really embracing nature. And being such a gutsy woman so early on,’ says Elizabeth Brown, an expert in the history of photography, UW lecturer, and former chief curator of the Henry Art Gallery.”
“Prone to falling down digital rabbit holes”: The Stranger’s Jas Keimig interviews artist Anthony White about In Crystallized Time, the new show he curated at Museum of Museums.
The Seattle Times’ Crystal Paul with a fond farewell to dani tirrell, beloved dance artist and choreographer, who is moving to Washington, DC.
“‘Contributing to the rise and the presence of African American choreographers, to me that is the big legacy. Dani worked tirelessly. I don’t know what’s going to happen with all of that now that dani’s not here,’ said Donald Byrd, artistic director of Spectrum Dance Theater.”
“As a Black artist, I want that freedom and liberty for people to experience my painting on their own terms, with or without having a built-in, overly structured narrative of the Black plight attached to it.”
Computer-generated liminal spaces and objects are familiar to video gamers—and maybe more so to those who are just not very good at video games, flailing halfway between a corner, or punching through a character that is more background than plot. These virtually possible in-between spaces become perceptible at the moment a player engages with the limits of a game’s designed environment. In Seattle-based artist Gary Hill’s video installation series Liminal Objects, however, it is within the absence of a designed environment where the computer-generated objects themselves interact, and with disregard for each other’s limits.
Each work in the series shows two black-and-white unrelated computer-generated objects on a 14-inch Cathode Ray Tube (CRT) monitor that has had its housing removed. One object is still, while the other moves back-and-forth and around, indiscriminately slicing the stationary object. In Liminal Objects #5 (1996), it is a stationary tree and a swinging chandelier. Through these shadowless animations, “Hill has avoided the spectacle of computer art and instead embraced the simple fact that the ‘program’ doesn’t care if objects penetrate each other’s solidity.”1 It’s a bit absurd, and in the case of #5, perhaps a touch romantic.
Placing the work among other video art and time-based media of its era, Liminal Objects’ sculptural presence stands out. During the 1990s, contemporary art saw a “cinematic turn,” with a proliferation of large-scale video projection within the gallery space. Video art “forged a link with cinema and its giganticism” as projected images began to engulf entire walls.2 This was a departure from the previous decade, where CRT monitors—the small boxy televisions so different from today’s large flat LCD screens—were the norm (and sometimes only option) for displaying video art. But in the 1990s, many artists sought to loosen video from default connections to sculpture and the domestic in favor of the more immersive experiences that newer technologies could support.
Hill’s Liminal Objects series doubles down on the sculptural qualities of the CRT monitor while also disengaging it from connotations with the domestic: first, by removing the monitor from its casing, thereby “exposing the circuit boards and cathode tubes, and rendering them dangerous and vulnerable sculptural objects;”3 and second, as in Liminal Objects #5, by placing the monitor vertically atop its small steel table. All of these works would originally use laser disc to play the video loops, a common format for video art at the time due to laser disc’s accuracy for synchronization and potential higher quality as compared to tape-based formats.
Engaged in a silent loop, the tree and chandelier of #5 act as ghost-like semaphores: “a compositional practice of electronic linguistics.”4 But in thinking through the considerable questions for how to continue to display such time-based artworks in the future, another riff on ‘liminal’ comes to mind. “[L]iminal or borderline states are anywhere that something is about to undergo a phase transition or turn into something else.”5 As we all know, formats will become obsolete and technology will fail (just look to your smart phone). CRT monitors are not as easily sourced today and the laser disc has long been eclipsed by the digital file.
That time-based artworks can potentially inhabit future hardware, software, and display mechanisms without losing their inherent meaning, highlights a certain liminality too. How will artists like Hill and tomorrow’s conservators imagine the “phase transition” of these works into the future?
– Mia Ferm, SAM Project Manager, Historic Media Collection
1 Kunstmuseum Wolfsburg, Gary Hill: Selected Works and Catalogue Raisonné (Cologne: DuMont, 2002): p. 196.
2 Laurenson, Pip, “Developing Strategies for the Conservation of Installations Incorporating Time-Based Media with Reference to Gary Hill’s Between Cinema and a Hard Place,” Journal of the American Institute for Conservation, Vol. 40, No. 3, 2001, pp. 259-266: p. 261.
3 Laurenson, Pip, “Developing Strategies for the Conservation of Installations Incorporating Time-Based Media with Reference to Gary Hill’s Between Cinema and a Hard Place,” Journal of the American Institute for Conservation, Vol. 40, No. 3, 2001, pp. 259-266: p. 261.
4 Quasha, George, An Art of Limina: Gary Hill’s Works and Writings (Barcelona: Ediciones Polígrafa, 2009): p. 90.
5 Quasha, George, An Art of Limina: Gary Hill’s Works and Writings (Barcelona: Ediciones Polígrafa, 2009): p. 219.
For nearly a decade of her 70-year career, Imogen Cunningham focused on capturing the beauty of botanicals. Having studied chemistry and worked in the botany department at the University of Washington, she wrote her thesis in 1907 on the chemical process of photography while employing a variety of plants as her subjects.
Magnolia Blossom is perhaps Cunningham’s most well-known botanical image. The close-cropped photograph of the flower reveals the cone of stamens and pistils hiding between the petals. Taken as a whole, the image represents a transfixing study of light and shadows within the history of black and white photography.
In this audio recording produced by the J. Paul Getty Museum, Meg Partridge, the granddaughter of Imogen Cunningham, discusses the significance of this photograph within Cunningham’s larger body of work and provides insight on the photographer’s fascination with botanicals. Tune in to this and twelve other recordings as part of the free smartphone tour of Imogen Cunningham: A Retrospectivewhen you visit the Seattle Art Museum.
Magnolia Blossom, 1925
Narrator: This close-cropped image of a magnolia flower fills the entire frame. The petals have completely opened revealing the cone of stamens and curlicue carpels.
Meg Partridge: It’s really a beautifully sharp, focused, large-format image that is a simple subject, but it’s very powerful.
Narrator: For roughly a decade, Cunningham focused her attention on botanical studies. This is perhaps her most well-known example. She had an extensive knowledge of plants—as a chemistry major in college, she worked in the botany department, making slides for lectures and research.
Meg Partridge: She knew the botanical names of all of the plants that she had photographed and all the plants that she gardened with. She spent a good bit of time in the garden. So I think it was more about the relationship she had with her subject—be it a person or a plant—that we really see and respond to.
Narrator: There was a practical aspect to these botanical works as well. Cunningham once explained: “The reason I really turned to plants was because I couldn’t get out of my own backyard when my children were small. I photographed the plants in my garden and steered my children around at the same time.”
Meg Partridge: And she would do it in moments where she had children underfoot, but also a moment to focus. She always used natural light and she often took photographs either inside with a simple backdrop or she even took simple backdrops, a white board or a black cloth, out into the garden to photograph.
Narrator: Cunningham’s full-frame botanicals such as this one were groundbreaking in early modernist photography.
“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.”
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.’”
“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.”
Introducing #SAMSnippets! We recently launched a new live series on our Instagram which gives followers an in-depth look at works from SAM’s permanent and semi-permanent installations virtually. Each month, we’ll choose a new gallery to walk viewers through, providing a taste of SAM from wherever you may be!
To kick off the series this November, we featured a diverse collection of artworks from “Native Art and Life Along the Northwest Coast” in celebration of National Native American Heritage Month. Watch the video now to get a peek at what’s on view at SAM now and read about the works shown in this video below. Visit SAM now to see all of the featured works and more in-person!
Masks Right to Left: Deer Mask, Owl Mask, Wolf Mask, Bukwus Mask (Wild Man of the Woods), Raccoon Mask, Cod Fish Mask, Mouse Woman Mask, Grizzly Bear Mask, Bukwus Mask (Wild Man of the Woods), Kingfisher Mask, Porcupine Mask, Otter Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Gifts of the Pacific Science Center. Photo: Natali Wiseman.
Masks of the Animal Kingdom Dance
As we enter the galleries on this short walkthrough you’ll see an installation of masks arranged on platform. Performances featuring masked dancers are birthright of particular families and derive from long-ago auspicious encounters between human ancestors and supernatural beings, in the guise of animals or unique spirits. The “Dance of the Animal Kingdom” represents a heroine ancestor’s adventures among the animal beings, who in turn bestow the dance and masks upon her for use by her family and subsequent generations.
According to Chief Bill Scow (1902–1984), the Animal Kingdom story took place at Shoal Harbor (Gilford Island, British Columbia) where in the distant past a girl went looking in the woods for her lost brother. She instead encountered a dance of animal beings inside a cave. The messenger of the animals, Mouse Woman, was sent to see if there was indeed an intruder. Because the girl was able to overcome the supernatural power present in the animal dance, she was allowed to witness it and to bring to her people the privilege of performing it. The masks shown here were carved by artist Sam Johnson (1930–2007) for the opening ceremonies of the Seamonster House at the Pacific Science Center in 1971.
Mouse Woman Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, cotton cloth, and leather, 11 x 9 1/2 x 9 in. (27.94 x 24.13 x 22.86 cm), Gift of the Pacific Science Center, SC2006.8.
As we pan across the arrangement, keep an eye out for Deer, the “curious one,” recognizable by its antlers. You’ll also see Owl, called the “Wise One” perhaps because its large eyes see deeply into the real and spirit worlds. Its distinctive markings, rotating head and binocular vision, put the owl in the pantheon of auspicious creatures. George Hunt (1854–1933), a knowledgeable First Nations consultant to anthropologist Franz Boas, recorded that some Kwakwaka’wakw believed that after death man becomes an owl.
According to Bill Scow, one of the heirs of the Animal Kingdom privilege, Wolf was the leader of the animals and would call them out one-by-one to pantomime the characteristics of each creature. After all the animals had danced in sequence, they would dance together as a group for the finale.
Raccoon, as keeper of the fire, would have been in charge of illuminating the sacred cave where the Animal Kingdom Dance first took place.
Because of her speed and sharp mind, Mouse Woman is sent out to make sure no one is watching the secret dance of the animals. In the story, she befriends the girl and tells the others that no one is watching. In time, the girl is allowed to observe and to take the supernatural treasure of the dance and masks back to her family.
Grizzly Bear is the “fierce one” and can be identified by his upright ears, large snout, and moveable jaw.
The presence of Bukwus in the Animal Kingdom Dance may be a reference to the lost brother that the girl was seeking. Bukwus are feared ghost-like creatures believed to represent humans who have become separated from their community and wander the woods. In the story, the brother loses his human identity and becomes a Bukwus.
Kingfisher is said to be the assistant to Wolf, the leader of the animals. In the wild, they are stocky birds with a shaggy blue crest who fly quickly over rivers and shorelines looking for fish. Their rattling cry and expert diving abilities make them special and mysterious creatures.
Seated Human Figure Bowl, pre-1800, Coast Salish, Soapstone, 14 3/4 x 4 5/16 x 7 5/16 in. (37.5 x 11 x 18.5 cm), Gift of John H. Hauberg, 83.223.
Now we turn to historic and contemporary works created by Native peoples across the Northwest Coast. The first work in this collection, Seated Human Figure Bowl, portrays a skeletal humanoid figure cradling a bowl in its lap, with its arms and legs encircling the bowl. Three distinct snake images are carved downward from the head, resembling a headdress with two footprints on top. Bowls such as these, carved from stone, wood, and horn, are often used by Coast Salish peoples in rituals of healing and protection.
Next to the bowl sits a Sxwaixwe Carving. The unusual being depicted in this carvingis used in Coast Salish communities to bless and protect people in life crisis events, such as sickness and death. Only the right person with the right to use the masks would know its deeper meanings. This small carving might have once been the finial of a rattle or the top of a staff.
Skull Rattles (Xawikw Yadan), ca. 1890, Kwakwaka’wakw, Alder wood, red cedar bark, paint, Gift of John H. Hauberg, 91.1.86.1.
Also in this collection, we see two Skull Rattles. The imagery of these two works reveals the death-and-rebirth aspect of initiation into the t’seka or Winter Ceremonial whereby acolytes are temporarily imbued with supernatural power then restored by attendants who shake rattles to tame the wild behavior of the initiate. The subdued initiate is reborn with greater status and connection to spiritual power.
Halibut—giant flatfish that can weigh one hundred pounds or more—were traditionally caught in Tlingit and Kaigani Haida communities from cedar canoes using special barbed hooks. Fishermen used imagery that referenced the help of a shaman. ThisHalibut Hook (Naxw) which is then panned to represents a human figure with animal-like feet biting an octopus tentacle. The octopus appears frequently on shaman charms and is considered to be a supernaturally powerful being.
The importance of shamans, called halait, as powerful spirits which aid in combatting sickness and soul loss in Native communities along the Northwest is reiterated in the next work featured in the video, Soul Catcher (Am’halait). This special amulet of bone, abalone shell, and buckskin is a container that was manipulated while the shaman was in a trance, in order to locate and retrieve the wandering or bewitched soul of a person, thus restoring their health.
Small carved shaman figures such as the one which is next panned to, represent spirit helpers and were part of the myriad curing paraphernalia employed to purge ill persons of evil spirits. Objects such as these would protect the shaman against supernatural enemies while completing his healing duties.
Xoots Kudás (Bear Shirt), ca. 1890, Tlingit, Tekweidí clan, Commercial wool cloth, cotton cloth, imported mother-of-pearl buttons, applique, synthetic indigo dye, 41.5 x 57 in. (101.6 x 144.78 cm), Gift of John H. Hauberg, 91.1.80.
To the right of this shaman figure, we see a venerable ceremonial garment. Xoots Kudás displays a bear on one side and a stylized design of bull kelp on the other, both crests of the Tlingit clan. The crests are held communally and symbolize ancestral encounters with supernatural beings. Such regalia is considered to be at.óow (“an owned or purchased object acquired through an ancestor”), one of many traditional art works brought out on ceremonial occasions to signify the connection between the ancestors and the living.
Leaving the glass case of Northwest Native works, we pan to two pedestals with works highlighting the importance of Raven in Tlingit communities. The first, Raven at the Headwaters of Nass Hat (Naas shagi Yeil S’aaxw) was used in Alaska to comfort those in mourning. Clan hats are the ultimate expression of complex shared histories and are featured prominently in potlatches. When the song associated with the hat was sung, the host family and guests—ritually dressed in headgear and robes—would dance in remembrance of their loved ones.
The second work is a stunning combination of maple, mirror, abalone shell, bird skin, paint, sea lion whiskers, copper, leather, and Flicker feathers. According to myth, the distinguished natural features of Tlingit homelands can be attributed to Raven. Lkaayaak Yeil S’aaxw (Box of Daylight Raven Hat) depicts the wily Raven in the act of releasing the sun, moon, and stars from his grandfather’s box, which the legendary bird clutches in his human-like hands.
Keet Shagoon (Killer Whale), Preston Singletary, ca. 2003, American, Tlingit, born 1963, Fused and sand carved glass, 72 x 92 x 3/8 in. (182.9 x 233.7 x 1cm), Purchased in honor of John H. Hauberg with funds from the Mark Tobey Estate Fund, John and Joyce Price, the Native American Art Support Fund, Don W. Axworthy, Jeffrey and Susan Brotman, Marshall Hatch, C. Calvert Knudsen, Christine and Assen Nicolov, Charles and Gayle Pancerzewski, Sam and Gladys Rubinstein, SAM Docents, SAMS Supporters, Frederick and Susan Titcomb, and Virginia and Bagley Wright, 2003.12.
Behind these pedestals, we see Keet Shagoon (Killer Whale) by Tlingit artist Preston Singletary. Growing up in west coast cities and trained in European glass techniques and practice, Singletary began incorporating Native Iconography into his work in 1987, explaining: “I found a source of strength and power [in Tlingit designs] that brought me back to my family, society, and cultural roots.” In this, his first monumental work, the artist studied the house screen in this gallery, fusing his clan Killer Whale crest into sixteen panels, thus recharging an ancient tradition and bringing the past forward. Learn more about this artwork featured in SAM’s Object of the Week series.
Canoe Breaker: Southeast Wind’s Brother, Robert Davidson, ca. 2010, Canadian, Haida, Masset Village, born 1946, Acrylic on canvas, 60 × 40 in. (152.4 × 101.6cm), Gift of The MacRae Foundation, the Native Arts of the Americas and Oceania Council, and Ancient and Native American Art Acquisition Fund, 2013.35.
The tour concludes with Robert Davidson’s Canoe Breaker: Southeast Wind’s Brother. According to Haida oral traditions, Canoe Breaker is one of ten brothers of Southeast Wind, who is responsible for the turbulent weather on Haida Gwaii. You can learn more about the story behind Canoe Breaker in this highlight as SAM’s Object of the Week.
“Southeast Wind is in the form of a killer whale. The [white] ovoid actually separates the lower teeth from the upper teeth in the mouth. And the top shape would be the tail and this U-shape could be the pectoral fin and dorsal fin. When you see the killer whale in their world we see them as killer whales but when…they go into their dwelling [below the sea] they will take off their skins and hang it near the door..so that’s why…human attributes [are] mixed in with what a killer whale looks like.”
– Robert Davidson
– Lily Hansen, SAM Marketing Content Creator
Video Artworks:Deer Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, antler, paint, cloth, 14 1/2 x 9 1/2 x 9 3/4 in. (36.83 x 24.13 x 24.77 cm), Gift of the Pacific Science Center, SC2006.7. Owl Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Wood with enamel paint, 12 x 9 1/2 x 10 in. (30.48 x 24.13 x 25.4 cm), Gift of the Pacific Science Center, SC2006.5. Wolf Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, and cloth, 8 x 8 1/8 in. (20.32 x 20.64 cm) L.: 20 3/4 in., Gift of the Pacific Science Center, SC2006.10. Bukwus Mask (Wild Man of the Woods), Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, Overall: 12 x 11 1/2 x 8 1/2 in. (30.5 x 29.2 x 21.6cm), Gift of the Pacific Science Center, SC2006.12. Raccoon Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, and cotton cloth, 12 1/2 x 9 x 9 13/16 in. (31.75 x 22.86 x 24.96 cm), Gift of the Pacific Science Center, SC2006.9. Cod Fish Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 12 3/4 x 9 1/8 x 9 1/2 in. (32.39 x 23.18 x 24.13 cm), Gift of the Pacific Science Center, SC2006.1. Mouse Woman Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, enamel paint, cotton cloth, and leather, 11 x 9 1/2 x 9 in. (27.94 x 24.13 x 22.86 cm), Gift of the Pacific Science Center, SC2006.8. Grizzly Bear Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 9 1/8 x 8 in. (23.18 x 20.32 cm) L.: 15 3/4 in., Gift of the Pacific Science Center, SC2006.6. Bukwus Mask (Wild Man of the Woods), Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 12 x 9 1/4 in. (30.48 x 23.5 cm) , Gift of the Pacific Science Center, SC2006.2. Kingfisher Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, 8 1/4 x 9 in. (20.96 x 22.86 cm) L.: 11 in., Gift of the Pacific Science Center, SC2006.4. Porcupine Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, 11 1/4 x 9 11/16 x 10 in. (28.58 x 24.57 x 25.4 cm), Gift of the Pacific Science Center, SC2006.3. Otter Mask, Sam Johnson, ca. 1970, Kwakwaka’wakw, Musgama, Dzawada’enuxw Nation, 1930–2007, Red cedar, paint, cloth, Overall: 6 1/2 x 8in. (16.5 x 20.3cm) Length: 16in. (40.6cm), Gift of the Pacific Science Center, SC2006.11.Seated Human Figure Bowl, pre-1800, Coast Salish, Soapstone, 14 3/4 x 4 5/16 x 7 5/16 in. (37.5 x 11 x 18.5 cm), Gift of John H. Hauberg, 83.223. Stone Mortar, pre-1800, Salish, Granite, 10 x 5 3/4 x 4 3/4 in. (25.4 x 14.61 x 12.07 cm), Gift of John H. Hauberg, 91.1.136. Eagle and Salmon, Manuel Salazar, 2007, Canadian, Cowichan, born 1966, Deer hide, acrylic paint, Diam.: 20in. (50.8cm), Gift of Doug and Thelma McTavish, 2008.49. Sxwaixwe Carving, ca. 1880, Coast Salish, Wood, Mountain goat horn, mountain sheep horn, cow horn, copper, 5 1/2 x 2 in. (13.97 x 5.08 cm), Gift of John H. Hauberg, 91.1.140. Drum with Skull Painting, Susan Point, 1991, Musqueam, Canadian, Born 1951, Animal hide, acrylic, wood, bone, 17 x 3 in. (43.2 x 7.6 cm), Gift of Simon Ottenberg, in honor of the 75th Anniversary of the Seattle Art Museum, SC2005.13. Halibut Hook (Naxw), ca. 1890, Tlingit or Kaigani Haida, Yew wood, yellow cedar, iron, cedar bark twine, and commercial cotton twine, 4 5/8 x 1 3/8 in. (11.75 x 3.49 cm) L.: 9 1/2 in., Gift of John H. Hauberg, 91.1.105. Soul Catcher (Am’halait), ca. 1860, Tsimshian, Bone, abalone shell, and buckskin, 1 5/8 x 1 1/8 in. (4.13 x 2.86 cm) L.: 7 3/4 in., Gift of John H. Hauberg, 91.1.83. Shaman Figure, ca. 1860, Tlingit, collected in Sitka in 1869, Yellow cedar wood, human hair, and paint, 14 5/8 x 4 x 3 in. (37.15 x 10.16 x 7.62 cm), Gift of John H. Hauberg, 91.1.119. Xoots Kudás (Bear Shirt), ca. 1890, Tlingit, Tekweidí clan, Commercial wool cloth, cotton cloth, imported mother-of-pearl buttons, applique, synthetic indigo dye, 41.5 x 57 in. (101.6 x 144.78 cm), Gift of John H. Hauberg, 91.1.80. Raven at the Headwaters of Nass Hat (Naas shagi Yeil S’aaxw), ca. 1810, Tlingit, Taku village, Alaska, Gaanax.ádi clan, Maple, paint, shell, hair, baleen, 8 1/2 x 7 x 12 in. (21.59 x 17.78 x 30.48 cm), Gift of John H. Hauberg, 91.1.125. Lkaayaak Yeil S’aaxw (Box of Daylight Raven Hat), ca. 1850, Tlingit, Taku village, Alaska, Gaanax.ádi clan, Maple, mirror, abalone shell, bird skin, paint, sea lion whiskers, copper, leather, Flicker feathers, 11 7/8 x 7 3/4 x 12 1/4 in. (30.2 x 19.7 x 31.1 cm), Gift of John H. Hauberg, 91.1.124.Keet Shagoon (Killer Whale), Preston Singletary, ca. 2003, American, Tlingit, born 1963, Fused and sand carved glass, 72 x 92 x 3/8 in. (182.9 x 233.7 x 1cm), Purchased in honor of John H. Hauberg with funds from the Mark Tobey Estate Fund, John and Joyce Price, the Native American Art Support Fund, Don W. Axworthy, Jeffrey and Susan Brotman, Marshall Hatch, C. Calvert Knudsen, Christine and Assen Nicolov, Charles and Gayle Pancerzewski, Sam and Gladys Rubinstein, SAM Docents, SAMS Supporters, Frederick and Susan Titcomb, and Virginia and Bagley Wright, 2003.12.Canoe Breaker: Southeast Wind’s Brother, Robert Davidson, ca. 2010, Canadian, Haida, Masset Village, born 1946, Acrylic on canvas, 60 × 40 in. (152.4 × 101.6cm), Gift of The MacRae Foundation, the Native Arts of the Americas and Oceania Council, and Ancient and Native American Art Acquisition Fund, 2013.35.
From close friends to strangers, and even the artist herself, photographer Imogen Cunningham found inspiration in capturing the human form in various settings. Taking portraits of those around her, Cunningham aimed to find the “beauty of the inner self.”
Listen to this audio interview to hear Japanese and Chinese Canadian photographer Kayla Isomura discuss the lessons she has learned from Cunningham’s extensive body of work. Paying particular attention to the artist’s 1973 portrait, Morris Graves In His Leek Garden, Isomura highlights the intentional melancholy of the image and shares admiration for Cunningham’s keen ability to capture her subjects in their natural state.
This audio recording is part of a free smartphone tour of Imogen Cunningham: A Retrospective, now on view at the Seattle Art Museum. Tune in to this and twelve other recordings when you visit the exhibition at our downtown location.
Morris Graves In His Leek Garden, 1973
Narrator: Like Imogen Cunningham, photographer Kayla Isomura is known for her portraits.
Kayla Isomura: I am a fourth-generation Japanese and Chinese Canadian, with a background as well in journalism, all of which have influenced my interest in multimedia storytelling.
Narrator: Kayla identifies with Cunningham’s goal of finding the “beauty of the inner self” in her portraits. Here, Kayla notes Cunningham’s deft touch with her subject, the painter Morris Graves.
Kayla Isomura: For me, I really like capturing people kind of as they are. Even taking a photo on the spot. Sometimes people will feel self-conscious about that. But more often than not I’m taking a photo of them because there is something about them that is photogenic even if it might not be in the sort of what society might expect. It’s very important that anybody can feel comfortable in front of the camera, or anybody can feel like they’re able to see themself in a photograph.
Narrator: Twenty-three years after Cunningham first photographed her friend Graves, she received a somewhat concerning letter from him. In addition to asking if she would once again take his portrait, Graves wrote, “Like us all, I am undergoing changes that are beyond my comprehension. I am tired of life, and I understand less and less.” Soon after, Cunningham visited Graves at his retreat, a 380-acre property in Loleta, California, where she took this photo.
Kayla Isomura: Something that really stood out to me is how authentic I guess in a way that I feel like this image was captured. Looking at how the photo was taken through the leeks and the contemplative expression on his face, it made me feel like there was more to this too. Like I didn’t know if there’s a sense of even mourning or even loss or maybe he’s just kind of lost in thought in his garden.
Narrator: After developing her photographs, Cunningham sent them to Graves along with her own letter, complimenting his “aura of beauty” and hoping that her portrait would inspire him to paint again.
– Lily Hansen, SAM Marketing Content Creator
Image: Morris Graves in His Leek Garden, Imogen Cunningham, 1973. Gelatin silver print, 8 ¼ x 11 3/16 in. Seattle Art Museum, Gift of John H. Hauberg, 79.72.
“It is perhaps this quality of reflective quiet that epitomizes Cunningham’s art across time. In all of her photos we sense not only her concentration, but the vibrancy of being in subjects animate and inanimate.”
“It’s not all a bird’s-eye view of hockey either…PacSci’s exhibit emphasizes the importance of broadening the reach of the sport, beyond the predominantly white and male scope. The Kraken have been outspoken in this regard, and some members of its historically diverse staff, as well as its investments in youth programs, are highlighted here.”
“Because of climate change and pandemics and robotization, we will have more refugees in the future, more poverty,” [architect Alexander Hagner] said. Young architects realized that “we have learned a profession in which we can perhaps not save the world.” But, he added, they could “contribute to making it a better place.”
December 2 is Free First Thursday at Seattle Art Museum and that means free entry into the newly opened Imogen Cunningham: A Retrospective. Get tickets to this free day while you can to attend a free community celebration in the galleries—our first in-person community celebration since reopening!
Get excited for your visit by watching this quick overview about the exhibition with Carrie Dedon, SAM’s Assistant Curator of Modern and Contemporary Art.
Hosted on November 8 as a talk for SAM Members, we’re excited to share this recording of the overview with everyone and offer some context on the important contributions of Imogen Cunningham to photography as an art form over the course of her seven-decade career.
And remember, every First Thursday is free at Seattle Art Museum. Find out more about discounted admission opportunities!
Crafted out of wood, paint, and opercula shells, Calvin Hunt’s monster Feast Dish, is a testament to the importance of food, community, and potlatch culture to the Kwakwaka’wakw peoples of British Columbia. Born in 1956, Calvin Hunt is known for his monumental sculptures and is a well-respected artist from the Kwagu’l band located in Fort Rupert. Hunt’s feast dish provides a remarkable contrast to the typical Kwakwaka’wakw dishes.
As many partake in Thanksgiving celebrations, it is pertinent to recognize the cultural significance of the potlatch for the First Nations, along with the impact of the Canadian potlatch ban that restricted Indigenous peoples from practicing their traditions for over sixty years, only officially ending in 1951. The word potlatch, in Kwak’wala means “to give.” Potlatching for theKwakwaka’wakw continues to this day and has been practiced for as long as spoken and written history can remember.
Feast bowls are carefully carved and ornamented by their creators, specifically designed for their use at potlatches that will hold delicious foods such as eulachon fish oil, seal meat, cranberries, and cinquefoil roots. Hunt’s bowl, however, was crafted specifically for SAM to coincide with the Chiefly Feasts exhibition in 1994. The feast bowl is modeled after Sisiutl, a three-headed sea serpent from Kwakwaka’wakw mythology, who can change between human and animal, along with morphing into a self-propelling canoe whose owner must feed with seals. Operculum shells encircle the mouth of the bowl. In nature, these shells protect marine gastropods (snails) from predators along with preventing the gastropod from drying up if they are exposed to air. With these operculum shells adorning the mouth of Hunt’s bowl where feast food is placed, along with this piece having been created shortly after the potlatch ban was lifted, it can be inferred that these shells are protecting the sacred tradition of potlatching from predatory laws.
Today, and every day, is an occasion to give thanks to Indigenous communities.
Seattle Art Museum acknowledges that we are on the traditional homelands of the Duwamish and the customary territories of the Suquamish and Muckleshoot Peoples. As a cultural and educational institution, we honor our ongoing connection to these communities past, present, and future. We also acknowledge the urban Native peoples from many Nations who call Seattle their home.
– Kari Karsten, SAM Emerging Museum Professional Curatorial Intern
Night Watch (1960) by Abstract Expressionist artist Lee Krasner is part of a body of work often referred to as her “Night Journeys.” Grieving the loss of her husband, Jackson Pollock (1912–1956), and her mother, Anna Weiss Krassner (d. 1959), Krasner found herself in a challenging and painful emotional space. Suffering from intense insomnia, she painted almost exclusively at night during this period. In her words, “I painted a great many [paintings] because I couldn’t sleep nights. I got tired of fighting insomnia and tried to paint instead. And I realized that if I was going to work at night I would have to knock out color altogether, because I couldn’t deal with color except in daylight.”1
Though previously known for her dramatic use of color, Night Watch, along with other works made in the early 1960s, uses a reduced palette of black, ochre, and creamy white, with gray accents. The title alludes to one of Rembrandt’s celebrated 17th-century paintings of a militia company and, with punctuating eyes as a recurring motif, alludes simultaneously to the militia’s duty of keeping watch as well as a self-referential proclamation. Painting, for Krasner, was always autobiographical, and she maintained that “Painting is not separate from life. It is one.”2
Despite their reduced palette and somber origins, Krasner’s Night Journeys were an exciting artistic development. In a 1981 review of the exhibition The Abstract Expressionists and their Precursors at the Nassau County Museum in Roslyn, New York Times critic John Russell writes that Night Watch proves “Lee Krasner was able to go on turning the screw of her art at a moment in time when most of her colleagues were . . . beginning to lose momentum.”3 Indeed, Night Watch—with its swirling brushwork and rhythmic composition—mines a deeply personal moment in the name of self-expression.
– Elisabeth Smith, SAM Collections & Provenance Associate
1 Richard Howard, “A conversation with Lee Krasner,” in Lee Krasner Paintings 1959–1962 (New York: Pace Gallery 1979), p. 3.
