solstice Archives - SAM Stories

Muse/News: Museum Gifts, Unique Bonsai, and Emotional Maps

Rachel Eggers on Dec 18 2023

SAM News

Lee Carter for Artnet on Calder: In Motion, The Shirley Family Collection at SAM, sharing reflections from collectors Jon and Kim Shirley about Alexander Calder’s art and why they wanted to gift their collection to SAM.

“Ultimately, it was important to keep the Alexander Calder pieces together, all at SAM. ‘Museums are great public institutions,’ said Shirley. ‘For years we have lent our Calders to exhibitions in other parts of the country and around the world. It’s clear to me that museums are where they belong and we should work as hard as we can to make museums vital institutions.’”

The Stranger includes SAM Gallery’s Printing the PNW show on their list of “best bang for your buck” events. We can’t say it better than them:

“After peeping legendary Edo-period Japanese ukiyo-e artist Katsushika Hokusai’s woodblock prints, paintings, and illustrated books (yes, including Great Wave, plus a LEGO interpretation of it) on view at Seattle Art Museum, why not drop by SAM Gallery to scope out Japanese-inspired prints created by local artists?”

Local News

“Cinerama — ahem, SIFF Cinema Downtown — is back”: The Seattle Times’ Moira Macdonald reports from the reopened theater.

Crosscut’s Brangien Davis’s latest ArtSEA post bids farewell to Wier Harman, recommends Black Nativity at Intiman Theatre, and spotlights some solstice events.

Here’s NW Asian Weekly on Irene Taylor’s new HBO documentary about a unique 82-year-old bonsai that lives at the Pacific Bonsai Museum.

“… its seeds were sent to Japanese American Juzaburo Furuzawa during his internment under Executive Order 9066 in World War II…The Furuzawa Pine gained international attention in February 2020 when it was stolen from the Pacific Bonsai Museum, only to be mysteriously returned less than 72 hours later.”

Inter/National News

Revisit “The Defining Art Events of 2023,” courtesy the editors of ARTnews.

The Art Newspaper offers this remembrance of sculptor Richard Hunt, who passed away at the age of 88.

“A World Map With No National Borders and 1,642 Animals”: The New York Times’ Natasha Frost on cartographer Anton Thomas’s “Wild World.”

For Mr. Thomas, this equates to a kind of “emotional geography,” where features with greater emotional heft — the New York City skyline, say, or the Golden Gate Bridge — may take up more space. “There are animals the size of mountain ranges on my map,’ he said. ‘But you know what? The African lion should tower over Kilimanjaro, if we’re drawing an emotional map.””

And Finally

What is a solstice, anyway?

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Chloe Collyer.

Object of the Week: Wintry Sky

Elisabeth Smith on Dec 25 2020

Snow in Seattle on the winter solstice provides a fitting backdrop for this work by Japanese artist Higashibara Hosen. Titled Wintry Sky, it encapsulates the subtle contradictions of the season and serves as a timely reminder that winter is officially here.

In the seemingly desolate scene, an angular, near leafless tree trunk and its rhizomatic branches energetically frame an overcast sky (one all too familiar for us in the Pacific Northwest). Bathed in a diffuse gray-yellow light, the moment has all the qualities of early morning. And while much is indeed dormant at this time of year, the tree is enlivened by seven chickadees—so enlivened you can almost hear their song. In this way, the painting brings to mind a wonderful line from Rumi: “And don’t think the garden loses its ecstasy in winter. It’s quiet but the roots are down there riotous.”

Painted in the 1930s, Hosen used a “boneless” wash technique (mokkotsu), meaning that it was painted without the use of ink outlines. A detail offers a better look at his masterful use of ink, capturing both the delicate softness of feathers and gnarled age of bark. This painting technique was characteristic of his mentor, nihonga master Takeuchi Seiho, whose paintings of the natural world informed Hosen’s own approach to painting nature.

Though it may appear somber and subdued, Hosen’s painting also embodies much of what is important about the winter season. Though a fallow period, winter is a time for hibernation and repair, rest and rejuvenation. It is a time for turning inward and looking to the natural world for hope and techniques for survival.

As in the words of William Carlos Williams:

All the complicated details
of the attiring and
the disattiring are completed!
A liquid moon
moves gently among
the long branches.
Thus having prepared their buds
against a sure winter
the wise trees
stand sleeping in the cold.

– Elisabeth Smith, SAM Collections and Provenance Associate

Image: Wintry Sky, 1930s, Higashibara Hosen, ink and light colors on silk, 70 7/8 x 40 5/16 in., Gift of Griffith and Patricia Way, in honor of the 75th Anniversary of the Seattle Art Museum, 2010.41.72 © Artist or Artist’s Estate

Object of the Week: Solstice Echo

Chelsea Werner-Jatzke on Dec 20 2019

In the weeks leading up to the winter solstice, light—increasingly subsumed by darkness—feels like a precious resource. It can be easy to forget just how much we rely on daylight, and difficult to remember what life was like even six months ago. Luckily, Saturday brings with it the shortest day and longest night of the year, and longer and longer days thereafter.

For artist Edda Renouf, the solstice is a perfect subject given her interest in light, nature, and the passage of time. Known for her minimal and meditative compositions, Renouf’s paintings and works on paper often engage material qualities that are intrinsic to her given mediums. In Solstice Echo, for example, the weave of the paper is enhanced by the verticality of the composition’s emergent form, further dramatized by deep red and black oil pastel hues.

In the words of Renouf, whose work is often linked to post-minimalism and the work of Agnes Martin: “Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born.” Renouf’s quiet and meditative compositions reveal essential truths about painting and drawing through simple formal decisions.

In Solstice Echo, the oil pastel sits on the surface of the textured paper—calling attention to its two-dimensionality—but also highlights a depth and deeper material structure that belies the paper’s inherent flatness. Taken together with the work’s title, Solstice Echo is indeed a meditation on light and space, capturing the subtle tension between lightness and darkness.

– Elisabeth Smith, SAM Collection & Provenance Associate

Image: Solstice Echo, 2004, Edda Renouf, oil pastel on paper, 9 1/2 x 8 1/4 in., The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support from the National Endowment for the Arts and the Institute for Museum and Library Services, 2008.29.31 ©Edda Renouf