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.”
“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.”
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.”
“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.’”
“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.”
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.’”
Welcome back to #SAMSnippets! In this live series on our Instagram you get an up-close look at works in SAM’s permanent and semi-permanent installations. Each month, we choose a new gallery to walk through, offering you art appreciation wherever you may be!
In January, we featured a diverse collection of artworks from Embodied Change: South Asian Art Across Time. The first special exhibition to open in the remodeled and renovated Seattle Asian Art Museum, the featured works explore social, political, and religious perceptions of humanity and the human body through the lens of past and contemporary South Asian artists. Many of them utilize female and feminized forms in a myriad of ways, including as a devotional object, as a mode of self-representation, and to question the safety of public spaces. Watch the video now to get a peek at what’s on view at the Asian Art Museum now and learn more about the works shown below. Get your tickets now to see the entire exhibition before it closes on July 10!
The tour begins with a look at Chila Kumari Singh Burman’s Kali (I’m a Mess). For more than 30 years, Burman has used a variety of mixed media to advocate for female empowerment, racial equity, and her Punjabi heritage. Kali (I’m a Mess) was a part of Burman’s recent installation titled Remembering A Brave New World, superimposed over the Tate Britain’s entrance. Perched atop the building’s pediment, the Hindu goddess of destruction and protection obfuscated the statue of Britannia. The text above Kali reads, “I’m a Mess,” a message usually not associated with Kali. Burman takes Kali seriously as a potent symbol of liberation and rebellion and uses this text to speak to political and social concerns that occurred in 2020. Kali (I’m a Mess) is one of a few works in Embodied Change which was acquired into SAM’s permanent collection as a result of being included in this exhibition.
As we enter the exhibition, the camera pans across five earthenware and clay terracotta figures. Originating from the Indus Valley civilization in modern day India, Pakistan, and Afghanistan, these works date back to 2600–1900 BCE. Archaeological digs in the area have revealed numerous small, female figures, usually sculpted with wide hips, small breasts, stocky appendages, and abundant jewelry. Early scholars deified these figures as “mother goddesses” (a manifestation of Devi), creating a tie between past religious beliefs and present-day Hindu practitioners. This interpretation has been reevaluated, questioning whether these items were truly representative of religiosity. Their meaning remains a mystery but the near absence of male figures suggest the body held significant importance.
Next, we see two photographs by Brendan Fernandes: As One III and As One IX. Fernandes is Canadian of Kenyan and Goan (South Asian) descent, and his last name evokes the complex circuits of exchanges between the Portuguese colonial apparatus and western India. In his work, Fernandes is invested in bodies that move, showing that the human body has a range of permutations, meanings, and identities. The artist and his practices does not hold a fixed identity or a singular idea of Europe, Africa, or India. Overall, he envisions “a different process of communication,” one that is body-driven.
These two photographs were created locally. Fernandes used dancers from the Pacific Northwest Ballet in the auditorium of the Seattle Art Museum alongside African masks from SAM’s permanent collection. Using gestures derived from classical French ballet, the two dancers address the African masks with formality and etiquette. Compositionally, the dancers’ heads are hidden, which allows for the masks to stand in for the dancers’ missing faces. Through such juxtapositions, Fernandes forges a bridge between the inanimate and the animate.
Adeela Suleman’s Helmet is part of a series repurposing kitchen objects. Made from utensils including a colander and tiffin (lunch box), the form is gendered as it uses objects typically located in the interior space of the kitchen, often associated with female domesticity. In performance photographs, Suleman dons these helmets, suggesting that women need special armor in their day-to-day movement in the public arena. The rigid and hard helmets provide little real protection. One wonders how much protection Suleman wants her pieces to afford; she seems to gesture to the futility of such an attempt.
In a glass pedestal adjacent to Suleman’s Helmet, we see Humaira Abid’s Sacred Games-I. Made entirely out of wood, the open suitcase contains clothes, a holy book, a cap, and prayer beads, all the possessions of a religious practitioner who is undertaking a spiritual journey. The gun that is placed alongside the belongings symbolizes both religious extremism and violence toward religion, including attacks on mosques, churches, and other religious buildings. In the artists’s own words, “all societies have extremists who twist religion as well as other social institutions and use it to their own benefit, to oppress women and vulnerable and defenseless people.”
The final section of the video is focused on portraits. Here, the featured artists use the theme of portraiture to challenge bodily ideals and the role of the female body in the arts.
The first portrait we see is B. Prabha’s Untitled. Active in the 1960s when there were few professional female artists, her trademark was elongated figures of rural women with a subdued color palette. Hailing from the small Indian village of Bela, near Nagpur, India, Prabha gravitated to rural village scenes. She painted lower caste women at work and at leisure. In this portrait, the unknown woman rests her back against a tree as she enjoys the company of a bird. Although Prabha typically depicted the silent labor of rural women to show their plight and suffering, she also endeavored to give them grace and personhood by depicting them enjoying moments of rest.
The camera next pans two works by Chila Kumari Singh Burman: Auto-Portrait, from Fly Girl series and Punjabi Rockers. In this first large collage work, Burman distorts her portrait through a range of different guises and manipulations. Her face is stretched, magnified, compressed, and painted with bright colors. Through the act of repetition and the reproduction of the print form, Burman crafts new personas, enacting fantasies of the self as the goddess Kali and as pop icons. As Burman explains, “These self portraits position the construction of racial and sexual identity as a process that is crafted and fluid within the process of representation. My manipulation of the photographic image questions the idea of the photograph as a document of the empirical reality to reveal ‘an image of myself.'” In other words, Burman resists a singular identity. Through the act of printmaking, she can reconstruct multivalent identities for herself.
In Punjabi Rockers, Burman, a member of the British Black Arts Movement, mines both South Asian histories and pop culture to overwhelm and challenge Euro-American perceptions of South Asian women. She has declared, “My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, toward a position where I, [an] Asian woman, become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture.” Together, these two prints burst forth with levity and joy to convey Burman’s political message of empowerment.
We then see Rekha Rodwittiya’s Untitled. Consistently, Rodwittiya paints female figures with vibrant, bold colors. The scale of her portraits tends to be quite monumental to celebrate the female form. Even in such large compositions, a sense of intimacy is present. In this canvas, a local schoolgirl shows off her spinning top. With her content smile, she is both anonymous and knowable. Regarding her practice, Rodwittiya states, “I live and breathe as a feminist so therefore that is the prism through which I perceive everything around me, and so therefore it would patina my art as well.”
The final work in the video is Mithu Sen’s Miss Macho (Self Portrait), from the False Friends series. Sen paints a mustache on her self-portrait along with overgrown floral vines in her hair and a phallic building on the bridge of her nose. Consistently throughout her practice, Sen applies a confrontational approach to topics related to the body, including sex. This work is part of the series called False Friends, in which Sen asked strangers to take photographs of her. According to Sen, during her childhood, she was considered the “literal black sheep” of her family since she was visibly darker-skinned than her light-skinned female family members. Here, Sen’s face occupies the entire canvas, making space for herself in her social and professional world. Her gaze is both otherworldly and visceral.
– Lily Hansen, SAM Marketing Content Creator
Video Artworks: Kali (I’m a Mess), Chila Kumari Singh Burman, 2020, 6mm 12v silicone LED neon, galvanized weld mesh, 12v switch mode transformers, IP67 plastic box, 137 13/16 x 70 7/8 × 1 3/16 in. (180 × 35 × 3 cm), Richard E. Lang and Jane Lang Davis Acquisition Fund for Global and Contemporary Art, 2021.25. Goddess Figurine, India, Earthenware, 2300–1750 BCE, Earthenware, 4 3/8 x 1 3/4 x 11/16 in. (11.11 x 4.45 x 1.75 cm), Eugene Fuller Memorial Collection, 41.23. Half Figure of a Goddess, India, Earthenware, 2300–1750 BCE, Earthenware, 2 3/4 x 3 x 1 in. (6.99 x 7.62 x 2.54 cm), Eugene Fuller Memorial Collection, 41.24. Fragmentary Figure, India, Terracotta, ca. 3rd millennium BCE–2nd century CE, Terracotta, 7 1/2 x 2 5/8 x 2 in. (19.05 x 6.67 x 5.08 cm), Gift in honor of Millard B. Rogers, 93.31. Fragmentary Figure, India, Terracotta, ca. 2nd–1st century BCE, Terracotta, 3 7/8 x 2 1/2 x 1 1/2 in. (9.84 x 6.35 x 3.81 cm) Overall h.: 4 3/4 in. Overall w.: 2 3/4 in., Eugene Fuller Memorial Collection, 39.36. Fragmentary Figure, India, Terracotta, ca. 3rd millennium BCE–2nd century CE, Terracotta, 4 1/8 x 1 3/4 x 3/4 in. (10.48 x 4.45 x 1.91 cm), Gift in honor of Millard B. Rogers, 93.32. As One III, Brendan Fernandes, 2017, Digital print, 34 x 48 in., Gift of Christopher and Alida Latham, 2019.27.1. As One IX, Brendan Fernandes, 2017, Digital print, 34 x 48 in., Gift of Christopher and Alida Latham, 2019.27.2. Helmet, Adeela Suleman, 2008, Metal with foam and cloth, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Sacred Games-1, Humaira Abid, 2020, Carved pine and wenge woods, Collection of Christopher and Alida Lantham. Untitled, B. Prabha, ca. 1960s, Oil on canvas, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Auto-Portrait, from Fly Girl series, Chila Kumari Singh Burman, 1993, Mixed media and laser printer, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Punjabi Rockers, Chila Kumari Singh Burman, 1993, Mixed media and laser printer, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Untitled, Rekha Rodwittiya, ca. 1990s, Acrylic and oil on canvas, Collection of Sanjay Parthasarathy and Malini Balakrishnan. Miss Macho (Self Portrait), from the False Friends series, Mithu Sen, 2007, Mixed media photocollage on archival paper, Collection of Sanjay Parthasarathy and Malini Balakrishnan.
The Stranger’s Chase Burns catches up on Sundance flicks; Matt McCormick’s short 2002 film the subconscious art of graffiti removal, narrated by Miranda July, is the one that sticks with him.
“The relationship between tagger and remover is an ongoing one. Often, a remover will cover an original tag, only for the tagger to return and tag on top of the remover’s masking. This back-and-forth can continue for years, with the remover coming back and using different shades of paint, creating a layered, more colorful image. This can be accidentally beautiful.”
“‘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.’”
“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.”
Kintsugi (golden seams or joinery) is the centuries-old Japanese art of repairing ceramics. Through mixing lacquer with powdered gold, silver or platinum, broken pottery is pieced back together—a second life made visible through glistening veins of metal. Like a palimpsest, objects bearing traces of kintsugi reveal a material history and process. Rather than devalue, kintsugi‘s mended fractures imbue a given object with new meaning. Imperfections are embraced and celebrated.
This 11–12th century celadon gourd-shaped bottle, currently on view in Boundless: Stories of Asian Art, illustrates such signs of kintsugi mending. Celadon ware of the Goryeo dynasty is considered a trademark of the period and the main type of ceramics produced. Its variably grey-green and green-blue coloring comes as a result of specific materiality and conditions: “the presence of iron in the clay and of iron oxide, manganese oxide, and quartz particles in the glaze—as well as to the firing conditions inside the kiln.”1
With its unique green hue, delicately incised floral pattern, and pleasantly attenuated proportions, this bottle finds many visual connections within the Color in Clay installation at the Seattle Asian Art Museum. However, unlike the other celadon works in its vicinity, additional streaks of gold set it apart from the rest.
– Elisabeth Smith, SAM Collections and Provenance Associate
Embodied Change: South Asian Art Across Time opens this Friday, January 14! Our first special exhibition to open in the reimagined and renovated Seattle Asian Art Museum, Embodied Change sees past and contemporary South Asian artists—including Chila Kumari Singh Burman, Chitra Ganesh, Mithu Sen, and Naiza Khan, among others—question social, political, and normative realities tied to humanity and the human body.
Ahead of your visit to the museum, learn about the exhibition from the curator herself. Watch this overview from Natalia Di Pietrantonio, SAM’s Assistant Curator of South Asian Art, to discover the histories and stories behind the works on view in our newest special exhibition.
Want to see the exhibition for free? Attend our community opening of Embodied Change on Friday, January 28 and participate in an artist talk with Humaira Abid or grab a take-away art project designed by artist Deepti Agrawal. As a reminder, every Last Friday is free at the Seattle Asian Art Museum. Reserving tickets in advance is recommended. Click here to learn more about discounted admission opportunities at all of SAM’s locations!
– Lily Hansen, SAM Marketing Content Creator
Image: Miss Macho (Self Portrait), from the False Friends series, 2007, Mithu Sen, Indian, born 1971, mixed media photocollage on archival paper, Collection of Sanjay Parthasarathy and Malini Balakrishnan, T2021.15.2.
Every painting, drawing, and sculpture at Seattle Art Museum, Seattle Asian Art Museum, and Olympic Sculpture Park is thoroughly inspected and cleaned by our conservation department before being put on view. These supremely talented individuals are dedicated to maintaining the aesthetic and structural health of SAM’s vast and, in some cases priceless, collections.
Watch this video from Seattle Channel’s Art Zone to get to know the leader behind this department, Jane Lang Davis Chief Conservator, Nicholas Dorman. Nick discusses his upbringing, explains how he ended up at SAM, and walks viewers through how he and his team care for every work of art at all three locations. All the works featured in this video can be seen on view in Frisson: The Richard E. Lang and Jane Lang Davis Collection at SAM through November 27, 2022.
In honor of National Ask a Conservator Day on November 4, we reached out to our Instagram community to see what questions they had for SAM’s conservation team. Nick, along with Senior Objects Conservator Liz Brown and Associate Conservator Geneva Griswold, took the time to answer them and give a bit more insight on their favorite memories at SAM—read their responses below!
What are some of the most time-intensive projects for SAM conservators to tackle?
Liz Brown (LB): Conservation treatments are time-intensive by nature! Small artworks treated in the studio take hundreds of hours to clean, treat, and document. Large, outdoor works such as those at the Olympic Sculpture Park get cleaned once a week, and then receive in-depth treatments, like a refreshed coating, each summer.
What background, formal education, and training is required to become an art conservator?
Geneva Griswold (GG): Paths into the conservation field can be circuitous, but many of us studied art history, chemistry, or are artists ourselves—conservation combines all of these interests! Formal entry into the field often includes the completion of a three-year graduate degree in art conservation with a specialty in objects, paintings, paper, textiles, books, or works on paper. Additional experience is gained through internships and fellowships.
What is your most cherished memory of working on SAM’s conservation team?
GG: One of my favorite memories is installing Yves St. Laurent: The Perfection of Style because it required teamwork from everyone in the department, plus local conservators who work in private practice, and conservators from France who travelled with exhibition. These collaborations are always the most fun because I learn a lot from my colleagues!
What has been your favorite artwork to restore/preserve while working at SAM?
LB: My favorite object is frequently what I am working on in the moment as each new work presents an opportunity to explore. Right now, I’m investigating cold cathode lights with artist Claude Zervas to prepare his artwork Nooksack for an upcoming exhibition.
How do you ensure you don’t change an artist’s intent when doing conservation?
Nick Dorman (ND): This important point is the subject of much concern and discussion. Treatments may be discussed with living artists directly, and conservators may collaborate with an artist’s foundation, community members, and others who are close to the work. We carefully research and document all work, and design every treatment to be reversible.
What aspect of conservation is misunderstood or overlooked?
LB: The title “conservation” can cause confusion it is often seen as rooted in a tradition of attempting to keep an object from changing. Sometimes this is a goal, but when considering treatment, we always consider the intangible aspects of the artwork. Thus, in conversations with stakeholders, we are looking to manage, change, and look to how that artwork lives best in a museum.
What is your favorite conservation tool?
LB: This is always changing, but one I come back to all the time is the very simple, yet versatile bamboo skewer. It’s wonderful in that it can be easily shaped to suit a variety of purposes. The wood box my father made for my small tools is also a favorite.
What’s the most interesting attempt you’ve seen a previous owner make to conserve an object? What did you have to do to correct/modify their attempt?
GG: I am currently working on a black lacquer wood sculpture. In areas where the black lacquer is missing, someone has colored the bare wood with a Sharpie marker to hide the unsightly loss. While well intentioned, this will be challenging to remove, if at all possible. Someone also used carpenter’s wood glue to reattach elements of the sculpture, however this type of adhesive has damaged the fragile lacquer. My treatment seeks to remove this adhesive and replace it with a more appropriate choice.
Any strange conservation stories to share?
ND: When I went to Italy in 2006 to research the original location of SAM’s Tiepolo ceiling fresco with former Chief Curator Chiyo Ishikawa, we found what seemed to be a very similar painting on the ceiling of the painting’s original home in Vicenza. The current custodian of the home said, “We have the Tiepolo, I don’t know what you have.” Turns out, we both have the Tiepolo! The surface of the original painting had been removed from the underlying fresco layers and attached to a new canvas support, eventually traveling across the world to grace SAM’s Porcelain Room ceiling. The remaining under-paint was left in place and was eventually retouched by a prominent Italian restorer.
What advice would you give to someone interested in pursuing a career in art conservation?
GG: Review the American Institute For Conservation and the Emerging Conservator Professional Network for resources. Informational interviews with conservators and conservation students can give a window into what the job entails on a day to day basis. Our roles vary immensely from museum to museum, and from institutional settings to private practice. Find a mentor who can provide sustained guidance—SAM conservators are happy to connect with you, get in touch with us!
The recent restoration and expansion of the Seattle Asian Art Museum presented a special opportunity to completely redesign and reinstall the museum’s galleries. For the inaugural installation, Boundless: Stories of Asian Art, SAM’s Asian art curators collaborated to select outstanding artworks which showcase some of SAM’s most significant holdings of Japanese, Korean, Chinese, and South Asian art.
Thanks to a generous grant from the Atsuhiko & Ina Goodwin Tateuchi Foundation, we were able to record a dedicated tour of the Japanese masterworks featured in the museum. Xiaojin Wu, Atsuhiko & Ina Goodwin Tateuchi Foundation Curator of Japanese & Korean Art, leads this tour, which provides a close look at more than a dozen artworks ranging from a new site-specific contemporary installation to ancient works, including several on view in the Atsuhiko & Ina Goodwin Tateuchi Galleries.
Xiaojin welcomes us to the museum under Kenzan Tsutakawa-Chinn’s Gather, the site-specific light sculpture hanging in the Garden Court, and which metaphorically gathers energy from Isamu Noguchi’s The Black Sun, a sculpture sitting outside the museum.
As she makes her way through the galleries, Xiaojin points out a 10th-century sculpture of Tobatsu Bishamonten, a Buddhist guardian figure. Bishamonten stands on the shoulders of Jiten, the earth goddess, in a representation that takes its form from Shinto sculptures. In a gallery focused on sites of worship, Xiaojin discusses the 18th-century screen, View of Mt. Fuji. Mt. Fuji serves as one of the most significant sites for Buddhist and Shinto pilgrimage in Japan, and this beautiful work paints Mt. Fuji from a famous viewpoint in Miho’s pine forest.
An integral element of the reinstallation was the decision to organize galleries by theme rather than by country of origin. One telling example can be found in one of our unique vaulted ceiling galleries: a 12th-century Japanese scroll of the Lotus Sutra is placed beside a page of a blue Quran from Tunisia. These works refer to two very different religions, but both use similar materials: gold and silver on indigo dyed paper or parchment. Placed beside one another, their shared visual quality creates an intriguing juxtaposition.
Near the end of the tour, Xiaojin directs our attention to a work acquired by Seattle Art Museum’s founder Richard Fuller. Inspired by a haniwa warrior on view in Treasures of Japan, an exhibition SAM hosted in 1960, and a designated national treasure in the Tokyo National Museum’s collection, Dr. Fuller acquired a similar haniwa for the museum the following year. He proudly called the Seattle haniwa “the brother of the Tokyo haniwa,” as they were excavated at the same time in the 1930s and from the same place in Ōta city, Gunma Prefecture.
SAM’s collection of Japanese art is one of the finest outside of Japan and one of the top ten in the United States. The 3,400 objects within the collection include significant examples of painting, sculpture, lacquerware, and folk textiles. Thank you to the Atsuhiko & Ina Goodwin Tateuchi Foundation for making it possible for us to create this video tour which allows SAM to better share this incredible collection of Japanese art with not only museum members and local audiences, but with the larger community and art-enthusiasts from across the globe as well. Visit the Seattle Asian Art Museum now to see all the amazing artworks featured in this video.
– Sarah Michael, SAM Director of Institutional Giving
Returning to school for K–12 students and educators not only means the beginning of a new school year, but also returning to in-person classrooms, in many cases. Around this time last year, the School & Educators team at SAM was working closely with our school and community partners on modifying the resources that had been created for the Seattle Asian Art Museum’s 2020 reopening, which were designed for in-person groups at the museum or in the classroom. In the following months, those programs pivoted from an in-person museum visit with related educator resources to a guided virtual experience featuring interactive Eyes on Asia videos.
Throughout the development of Asian art educational resources, we have consistently sought the input of those whose work is closest to youth and families. When the prospect of a fully remote 2020–21 school year became clear, we surveyed the educators that had been involved in our school partnerships for their insights on how best to meet the needs of students without high-speed internet, specialized art supplies, and/or the capacity to regularly attend online classes. Based on their feedback, we began developing Asian art resources that could be used in a virtual classroom or on their own. Instead of providing information on many artworks, we created differentiated ways to explore one object. In this way, an educator would be able to facilitate a sense of shared learning among students, even if they were not following the exact same steps.
Working with local videographer Ellison Shieh, the School & Educators team shot three videos in October 2020. Ellison’s experience at the intersection of documentary filmmaking and historical preservation, as seen in their work on “Chinatown-International District: Bush Garden” in #VanishingSeattle’s award-winning series, was incredibly helpful in cultivating a space of learning in the Eyes on Asia videos. In the coming months, we shared these videos and related resources with educators across many school districts, including Seattle Public Schools and Highline Public Schools. Not only was it a joy to see students engaging with SAM’s Asian art collection in a new way, but educators provided feedback as well. In a focus group with educators that used these videos in their classrooms during the 2020–21 school year, participants shared their thoughts on the importance of student engagement and creative responses:
“The [activity] was just cool. They were super excited about it and like, ‘Do we get to work on this again tomorrow?’”
“I’m always looking for projects that have that balance of structure to help them build skills and then having it be really creative. It fit really well with that . . . . And I loved it because it shows that they are thinking about what is inspiring for them and what will help them be really creative.”
“I’ve been really trying to have a lot of local artists and artists from diverse backgrounds who are currently working that my kids can connect with because they just love to see young, active working artists that look like them. . . . That’s something that I know I would love to get more of.”
In May 2021, after integrating educator feedback, we shot a second round of videos with Ellison. For this second round, SAM invited teaching artist Amina Quraishi to design and lead art activities inspired by works of art on view at the Seattle Asian Art Museum. In Amina’s activity, she reflects on how Islamic artists in the past have been inspired by the natural world around them. Creating a pattern based on Palampore (bed covering), she reminds us that the process is as important as the product when creating art.
While remote classrooms have now transitioned to hybrid or in-person, we hope that all the Eyes on Asia videos will help educators integrate a strengths-based approach with students, emphasizing their resilience and creativity over the past eighteen months. During this past year, we learned that teachers can adapt interactive video content in their classrooms, looking at works of art in SAM’s collection with their students before or after a future museum visit. With a specific focus on BIPOC artists and cultures underrepresented in our current offerings, we aim to continue improving our work toward community involvement and youth-led learning.
Watch all of SAM’s Eyes on Asia videos on YouTube.
– Yaoyao Liu, Museum Educator, Seattle Asian Art Museum
Yaoyao develops K-12 programs and resources related to other works of contemporary Asian art at SAM.
Inspired by a 19th-century Palampore, or bed covering, from SAM’s Asian art collection, teaching artist Amina Quraishi leads an art activity focused on shapes, patterns, and symmetry. With just a pencil, eraser, tracing paper, and a sheet of construction paper—and a few other optional art materials—Amina offers a tutorial on pattern building and repetition. Drawing from childhood memories of traveling to India and henna patterns applied to her hands in celebration of Eid al-Fitr, Amina encourages artists to think about meaningful objects and symbols in their culture. How can these be incorporated into the work?
The Seattle Asian Art Museum is open, though school tours are not available at this time. SAM continues to connect art lovers of all ages to our rich collection of art through a variety of virtual experiences which align with Washington State learning standards in Visual Art and English Language Arts. The Eyes on Asia video series is designed to be used as a supplemental learning tool in virtual classrooms, at home by parents and caregivers, and by friends hanging out online. Once you’ve watched the videos in the playlist, visit the museum to see the featured artworks in person!
How do traditions evolve over time? Consider this question as you compare a historical example of a Palampore with Faig Ahmed’s Oiling, both on view at the Seattle Asian Art Museum. Look closely at the intricate patterns, the symmetry (or lack thereof), and the ways in which order and disorder are portrayed in each artwork. What can you learn about the contemporary piece, Oiling, by looking closely at the Palampore?
This video brings together historical and contemporary works of art to show how traditions and modernity interact in our world today. A quick drawing activity offers a way of remotely engaging with the artworks and provides the foundation for a more in-depth art activity inspired by the Palampore in our Eyes on Asia YouTube playlist.
The Seattle Asian Art Museum is open again though school tours are not available at this time. Aligned with Washington State learning standards in Visual Art and English Language Arts, the Eyes of Asia video series is meant to connect art lovers of all ages to the museum’s rich collection of art through a variety of virtual experiences and provide opportunity for creative response. Each video can be used in virtual classrooms, at home by parents and caregivers, or by friends hanging out online. Visit the museum in person to see these, and other artworks featured in the series!
The Seattle Asian Art Museum is open again and events continue to be virtual for the time being—so tune in to get creative and find inspiration through artworks and performances from across Asian cultures before your next visit to the museum! Learn about the different ways that Asian art can connect to dance and music with a performance by Hengda Dance Academy. Consider how body movement informs Asian art as we practice a variety of mudras based on sculptures at the Seattle Asian Art Museum. Then create your own work of art inspired by movement, rhythm, and more with painter and printmaker Janet Fagan.
Family festivals at the Seattle Asian Art Museum connect families with performances, art activities, and other programming related to SAM’s Asian art collection.
“All art forms have helped and continue to help us get through this collective dark night of the soul,” [Aramis O.] Hamer says. “Years in the future, I think we will speak of 2020 as being a Birth of a Renaissance.”
“Here’s the best part, my guy,” [Cameron] Lavi-Jones says. “It means we’re going to get a lot better [expletive] rock music. It means we’ll get way more powerful music, way more intentional music — music with stronger messages — because when Black and brown people are making things, this is second nature to us.”
“To demonstrate the magic these new connections can create, Wu walks us to another dimly lit gallery, this one filled with delicate paper scrolls and book folios dedicated to the holy word. In one display case, two pieces of priceless paper seem to have been drenched in the night sky… On the surface, the two are linked by the shimmer of gold and tempestuous blue, but together they also suggest a power beyond words.”
“He hopes this piece is both enlightening and fun. ‘I’d love for it to be a place to do rubbings,’ he said, noting the inscribed names. ‘Or a place people take selfies. I want it to be like the Troll, that’s my dream.’”
Art in America’s “New Talent” issue was guest-edited by Antwaun Sargent and sees him “realize a decade-old fantasy” by bringing together a team of Black writers and critics. Read his editor’s letter and explore the new issue.