The New York Times Archives

Muse/News: Museum Futures, Sea to City, and Everyday Excellence

Rachel Eggers on Sep 9 2024

SAM News

“Can you really compare these selfie stations to Seattle’s best cultural institutions?” Seattle Met’s Allison Williams takes a look at the new Museum of Illusions and compares their “edutainment” value to mission-driven institutions, speaking with José Carlos Diaz, SAM’s Susan Brotman Deputy Director for Art, who isn’t mad at Insta moments.

“‘I think in the future, we’re probably going to see more and more acceptance, or even embracing of, new ways of presenting art,’ Diaz says. ‘Real works, but then also something very immersive and very emotional.’”

Meot: Korean Art from the Frank Bayley Collection is charming visitors at the Seattle Asian Art Museum. Susan Kunimastu wrote about the exhibition for Preview Magazine, and Madeline Ewing checked out the galleries for SEAtoday. And don’t miss The Ticket’s look at the “very demure, very mindful” artwork on view.

Seattle Refined’s “Artist of the Week” is Troy Gua! Don’t miss their interview with this beloved SAM Gallery artist.

Local News

Jas Keimig of South Seattle Emerald is back with another roundup of “Arts in the South End”; one of their picks is the Mouthwater Festival: A Disabled Dance Festival, and SAM is proud to host one of its performances, Grow Green Man, on October 5 and 6 at the Olympic Sculpture Park’s PACCAR Pavilion.

Margo Vansynghel of The Seattle Times selects “top Seattle art shows to see in fall 2024,” including some shows outside of the city that feature local artists.

Go with Rachel Gallaher for Seattle Magazine and “Dive into the Design Behind Seattle Aquarium’s New Ocean Pavilion.”

“‘The extraordinary thing about this site is that one edge of it is the Salish Sea, and the other is the urban center of Seattle,’ says Mark Reddington, a partner at LMN. The new 50,000-square-foot Ocean Pavilion, with its sweeping yellow Alaskan cedar-clad façade and nearly half-million gallon Reef ecosystem, houses 3,500 sustainably sourced tropical fish, invertebrates, and plants, representing more than 150 species.”

Inter/National News

Hurray for arts writers! Tessa Solomon for ARTnews reports on the 2024 winners of grants for visual arts journalists from the Rabkin Foundation: Greg Allen, Holland Cotter, Robin Givhan, Thomas Lawson, Siddhartha Mitter, Cassie Packard, TK Smith, and Emily Watlington.

Sarah Cascone for Artnet: “Tschabalala Self Lands a Colorful Ode to the Bodega at the Armory Show.”

Via Nancy Princenthal for The New York Times’s Fall Arts Preview: “Amy Sherald, Brazen Optimist.”

“Unlike many members of her generation, she is resistant to depicting personal experience. Her sublimity is of the abstract kind: ‘The idea,’ as she puts it, ‘is of portraying everydayness as excellence.’”

And Finally

Watch “The Best of James Earl Jones.”

Photo: Chloe Collyer

Muse/News: Cora’s Take, Arts Funding, and Guide Dog Art

Rachel Eggers on Dec 11 2023

SAM News

“The shadows look like airplanes!” That’s 7-year-old art critic Cora Hunter on Alexander Calder’s Little Yellow Panel (1936). Read all her impressions in Elizabeth Hunter’s “mother-daughter review” of Calder: In Motion, The Shirley Family Collection. Hunter also features insights from Jose Carlos Diaz, exhibition curator and Susan Brotman Deputy Director for Art, and Anna Allegro, Associate Director of Education.

In their “Things to Do” list, Seattle Met highlights Printing in the PNW at SAM Gallery, which features local printmakers as a companion show to the museum’s exhibition of Japanese prints, Hokusai: Inspiration and Influence.

And speaking of SAM Gallery: It got a shoutout from curator Jeremy Buben in “How to give art as a holiday gift in Seattle,” an article by Margo Vansynghel of The Seattle Times.

“‘For $100, you can rent an artwork at SAM Gallery [the art sales and rental gallery of the Seattle Art Museum] for three months,’ he said. ‘Perhaps this is the nudge your friends need to start getting excited about art; plus, it’ll get them involved in picking something out to temporarily live with.’”

Local News

Crosscut’s Brangien Davis shines a light on “10 photo shows that bring light to Seattle’s dark days.”

Did you see The Stranger’s Keep Warm guide? It’s got tips, recipes, interviews and more.

“King County OKs sales tax increase for ‘transformative’ cultural funding.” The Seattle Times’ Margo Vansynghel reports on the council’s approval of “Doors Open,” a new levy.

“…the Metropolitan King County Council unanimously approved a new levy that will provide hundreds of millions in funding to arts, heritage, science and historical preservation nonprofits over the next seven years.”

Inter/National News

“Unsung Women Fashion Designers Finally Get to Strut at the Met”: Artnet’s Raquel Laneri on the Women Dressing Women exhibition.

Maximilíano Durón of ARTnews on “the best booths at Art Basel Miami Beach.”

Via Hilarie M. Sheet for The New York Times: “Her Guide Dog Inspired Her Art. Now the Lab Stars in a Museum Show.”

“It celebrates her 13-year-old guide dog, London, and their mutual dependency. ‘I protect her and she protects me,’ [artist Emilie] Gossiaux said. On a more universal scale, her art seems to remove barriers between animals and the rest of the natural world.”

And Finally

Via AP: “Photographs capture humpback whale’s Seattle visit.” As the whales breached Elliott Bay waters, we spy The Eagle and the Olympic Sculpture Park in the background!

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: 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: Alborz Kamalizad.

Muse/News: Knockout at SAM, Arreguín’s Blends, and Oppenheim’s Transformations

Rachel Eggers on Sep 6 2022

SAM News

“In Seattle, it’s almost normal,” declares the New York Times headline on this story by David Laskin that takes the temperature of the city’s cultural scene. The Seattle Asian Art Museum and its journey to reopening (and reopening, again) kicks off the story, with reflections from curator FOONG Ping, whose exhibition Beyond the Mountain: Contemporary Chinese Artists on the Classical Forms is now on view.

In short, Seattle is back, but not all the way…But the city’s defining cultural institutions remain healthy, new restaurants and coffee places are popping up all over town, and the communities ringing the center are more vibrant than ever.”

“It’s a knockout show, with bold, tech-enhanced, multimedia works playing off traditional images and themes. And it’s also a fitting symbol of Seattle in the aftermath of the pandemic.”

Mark your calendar for September 23, says the Stranger, and we agree, because it’s the return of Legendary Children, the beautifully epic night celebrating the area’s house and ball community.

On Seattle Met’s regularly updated list of “things to do in Seattle”: Indigenous Matrix: Northwest Women Printmakers, curated by Kari Karsten and now on view at SAM.

Lonely Planet writes up “the 8 best museums in Seattle for a rainy day”; all three SAM locations get a mention, even the outdoor space of the Olympic Sculpture Park. You know what they say: no such things as bad weather, only bad clothing!

Local News

We were thrilled to bring programming like Summer at SAM and SAM Remix back to the Olympic Sculpture Park this year. Via Citystream, here’s a look at the return of another important community event, the Seafair Powwow at the Daybreak Star Indian Cultural Center.

Qina Liu for the Seattle Times on the opening of Loving Books, a Black-owned bookstore in the Central District, which curator Kristina Clark long envisioned as a “safe place where Black children could be Black children — where Black children could fully belong.”

Chloé Dye Sherpe for Art Access on Alfredo Arreguín’s solo show that’s now on view at the Museum of Northwest Art in La Conner. SAM recently acquired its first work by the artist; it will go on view as part of American Art: The Stories We Carry in October.

“Arreguín’s unique combination of complex, geometric patterns with portraiture and landscape elements blend to create for the viewer either a spiritual moment or opportunity for introspection.”

Inter/National News

Via Artnet: Get “ArtDrunk” with collector and influencer Gary Yeh as he takes in Frieze Seoul.

Eve M. Kahn for the New York Times on new design books on topics ranging from Olmsted trees, 1980s Miami architecture, and African textiles.

Via Lauren Moya Ford for Hyperallergic: “It’s Time to Look at Meret Oppenheim Beyond the Teacup.”

“Oppenheim’s inventive, shape-shifting works are difficult to classify. Unexpected combinations of materials, like fungus, buttons, and dried pasta with wood, stone, and clay, speak to her sense of imagination and experimentation. Nature and transformation are at the core of many pieces, but her message to viewers is ultimately open ended.”

And Finally

Shane Hawkins on the drums.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.

Object of the Week: Monday, March 16, 2020

Elisabeth Smith on Jan 28 2022

Since 2005, Fred Tomaselli has developed a body of work in which he uses the front page of The New York Times as the starting point for fantastic and at times surreal or psychedelic collages. Transforming newsprint into complex abstractions, the artist simultaneously responds to and divorces his imagery from current events, addressing the absurdity of our ever-spiraling news cycles.

Monday, March 16, 2020 is an exemplar piece in this regard. Made in the early days of the COVID-19 pandemic, Tomaselli looked to the front page of the March 16 edition of The New York Times, turning a still-haunting headline and image into an altered and abstracted space. “FED CUTS RATES TO NEAR ZERO; VIRUS TOLL SOARS” hovers above a lone traveler in an eerily empty Grand Central Station, the void through which they pass transformed with a multi-colored rainbow arch. In describing the ambiguous tone of the image, the artist has said, “This woman is walking into the unknown. I wanted to make her really stark and make her really isolated, but I also wanted to talk about hope.”¹

This print, made almost two years ago now, is a harrowing reminder of all that we have endured in the days and months since March 16, 2020. Still mired in a pandemic with COVID-19 rates soaring, it can be challenging to imagine a future beyond this. And yet, perhaps as Tomaselli suggests, this print—like all great art—can inspire and offer some hope that we will soon be on the other side.

– Elisabeth Smith, SAM Collections and Provenance Associate

1 James Cohan Gallery, “New Print by Fred Tomaselli,” October 24, 2020, https://www.jamescohan.com/news/new-print-by-fred-tomaselli.

Image: Monday, March 16, 2020, 2020, Fred Tomaselli, Archival inkjet print and silkscreen on paper, 15 1/2 x 16 in., Framed: 18 1/4 x 18 1/2 x 1 1/4 in., Gift of Jane and James Cohan in honor of Virginia Wright, 2021.5 © Artist or Artist’s Estate.