The Shirley Family Collection Archives

Muse/News: Living Color, Art Home, and Sargent’s Fashion

Rachel Eggers on Feb 26 2024

SAM News

“Artist, Agitator, Bug”: For University of Washington Magazine, Shin Yu Pai writes about Anida Yoeu Ali: Hybrid Skin, Mythical Presence, now on view at the Seattle Asian Art Museum.

“Ali notes that the themes in her work, like the history of war, trauma and genocide, are not frequently presented in mainstream cultural institutions. She seeks to be politically provocative and aesthetically remarkable while also conveying playfulness and joy.”

Former Seattleite Leslie Kelly returns for a fun-filled weekend for the Spokesman-Review’s “Going Mobile” series, making stops at the Olympic Sculpture Park and the Seattle Art Museum to see Calder: In Motion, The Shirley Family Collection.

Via Seattle Met: “Artist Cristina Martinez Shares Her Favorite Seattle Spots”—including the Seattle Art Museum.

“As a family we spend a significant amount of time there…I always make my kids show me their favorite and least favorite piece.”

Local News

The Seattle Times’ Margo Vansynghel brings you “6 Seattle photo exhibits to see in March.” Shout out to Jo Cosme, a former Emerging Arts Leader Intern in Graphic Design at SAM; go see her show at 4Culture!

Crosscut Now takes you behind the scenes of Seattle Opera as it prepared to debut X: The Life and Times of Malcolm X. See it there now through March 9.

Elizabeth Hunter and her daughter Cora continue their explorations of cultural spaces; this time, they visit Wa Na Wari in the Central District to enjoy art…and cookies.

“These little reminders of home—a claw foot bathtub, the smell of food cooking in the kitchen—are what make Wa Na Wari such a memorable art venue. No matter where you are, you are reminded: This is a home.”

Inter/National News

Via Colin Moynihan for The New York Times: “What’s in a Name? For This Rembrandt, a Steep and Rapid Rise in Price.”

Big news for the museum field: “Marilyn Jackson Named the New President and CEO of the American Alliance of Museums.”

Jo Lawson-Tancred for Artnet on Sargent and Fashion, which is now on view at Tate Britain in London after a successful run at the Museum of Fine Arts, Boston.

“Like an antidote to the avant-garde, Sargent’s paintings have a timeless charm owed to his uncanny ability to bring subjects to life on canvas… Walking through the galleries, one feels almost like they are stepping into a century-old conversation between fully sentient figures.”

And Finally

“Bartell’s has always been more than a drugstore.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Chloe Collyer.

Calder Smartphone Tour: Untitled (Métaboles)

Lily Hansen on Feb 10 2024

Alexander Calder shares a rich history with performance art. He projected many of his ideas onto the stage, collaborating with composers, actors, and choreographers, including Martha Graham, Virgil Thomson, John Butler, and Jean Vilar. Perhaps nowhere is the expansiveness of Calder’s vision more apparent than in these collaborations, in which the disciplines of music, dance, and sculpture expand our understanding of known experience.

Calder was commissioned to create an artwork that would accompany Métaboles, a new ballet choreographed by Joseph Lazzini to music by Henri Dutilleux and produced by the Théâtre Français de la Danse. The result, Untitled (Métaboles), embodies Lazzini’s themes of variation and transformation. Its subtle movements echo the delicate movements of the figures onstage as it continually unfolds in space. The dynamic mobile made its public debut alongside the ballet’s premiere at the Odéon-Théâtre de France, Paris, in 1969. The ballet also featured costumes designed by Calder.

Calder’s interest in performance didn’t end there, however. In 1968, the year before Métaboles was realized, Calder premiered his own “ballet without dancers” known as Work in Progress at the Teatro dell’Opera in Rome. The result is approximately 19 minutes long, with Calder-designed costumes, hanging and standing mobiles, stabiles, and painted backdrops, accompanied by electronic music by three composers.

Listen to the third stop of the free smartphone tour of Calder: In Motion, The Shirley Family Collection to hear Calder Foundation President Alexander S. C. Rower discuss how considerations of space and movement played influential roles in the artist’s creation of Untitled (Métaboles). You can explore all 16 stops on the audio tour via our SoundCloud or by scanning the QR code adjacent to select works in SAM’s galleries. Reserve your tickets to see Calder: In Motion at SAM to witness how this work ‘dances’ for yourself!

Untitled (Métaboles),1969

NARRATOR: This unusual work was made as a prop for a ballet, Métaboles, produced by Théâtre Français de la Danse, in 1969. Sandy Rower:
ALEXANDER S. C. ROWER: Here, he was invited by Joseph Lazzini, who was a choreographer, to collaborate and participate with this stage performance. And it’s a highly active work: the way the loops are connected makes it have a lot of movement. So, you could imagine it hung high above dancers and being quite free in its movement.
Calder often regarded his work in relation to choreography. I mean, his mobiles—the composition and the way they move—and if you think of them as multidimensional experiences—you begin to quickly relate them to music and dance and other arts. So, he kind of broke a lot of traditions in sculpting—what we think of traditionally as sculpting bronze and marble and clay—and he got rid of the mass, and then he introduced this activity of the sculpture responding to our space, responding to the room that we’re in or, in this case, in the theater.
NARRATOR: The work was made according to Calder’s initial model and assembly sketch.
ALEXANDER S. C. ROWER: Its qualities are extremely unusual because it was actually fabricated by set masters, so not made the way that Calder usually made his mobiles, at his foundry or in his studio with his hands himself. The fact that he could step away and allow others to introduce their aspects makes it really a collaborative thing.

– Lily Hansen, SAM Marketing Content Creator

Image: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2024 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Alborz Kamalizad.

Calder Smartphone Tour: Mountains (1:5 Intermediate Maquette)

Lily Hansen on Feb 3 2024

In 1975, Alexander Calder was commissioned to create a monumental sculpture for the nine-story atrium of the Hart Senate Office Building in Washington, DC. The result, Mountains and Clouds, is a towering two-part composition that stands 51 feet tall.

Mountains (1:5 Intermediate Maquette), the first artwork visitors encounter in Calder: In Motion, The Shirley Family Collection at SAM, is a scale model—referred to as a maquette—of the stabile portion of Calder’s colossal sculpture. The artist began creating intermediate maquettes in the mid-1960s as part of the process of scaling up his colossal sculptures “to study the overlapping of the plates and the piercing of the holes.”

In November of the following year—just under a month after the opening of his highly-applauded retrospective at the Whitney Museum of American Art—the artist traveled to Washington, DC to finalize the details of the project with the architect. That evening, Calder returned to New York City, where he unexpectedly died of a heart attack. The artist’s death led to several delays in the commission’s completion with the final installation eventually taking place in 1986. Today, the stabile portion of Mountains and Clouds remains on view in the Hart Senate Building while the mobile undergoes restoration.

As a stationary work accompanied by a hanging mobile, Mountains and Clouds is the only composition of its kind that Calder created. Learn more about Mountains (1:5 Intermediate Maquette) and the sculpture it is paired with in SAM’s galleries, Femme Assise (1929), in the second stop on the free smartphone tour of Calder: In Motion. Browse all sixteen stops in the tour via our SoundCloud or by scanning the QR code next to select artworks in the exhibition.

Mountains (1:5 Intermediate Maquette), 1976

NARRATOR: In his later years, Calder focused primarily on large-scale public works. And of course, you can see one such work—The Eagle—here in Seattle in the museum’s Olympic Sculpture Park.
You’re looking at Mountains, a model for the “stabile” component of Calder’s massive 51-foot high work, Mountains and Clouds. A “stabile” is a stationary sculpture, in contrast to Calder’s moving sculptures, called “mobiles.” In the monumental work, the stabile is paired with a mobile, which hovers above it.
Calder made the full-sized sculpture for the Hart Senate Building in Washington, DC. It was one of his last projects before his death in 1976. The sculpture is made from sheet metal—one of Calder’s most favored materials.
KENNEDY YANKO: Metal is one of the most fascinating materials in the world. You know, it’s something that we are excavating from the ground. It’s coming from the earth…
NARRATOR: Kennedy Yanko is a painter and sculptor who works with metal.
KENNEDY YANKO: …and it carries what it’s known and what it’s experienced. It’s this amazing material that goes from a hard state to a liquid; and my relationship to this heavy, typically connoted as an industrial material is quite interesting because I watch it break like a twig. It actually becomes something that’s delicate to me.
NARRATOR: This late work is paired here with one of Calder’s earliest works, a wooden sculpture called Femme Assise, from 1929.
ALEXANDER S. C. ROWER: I think that’s really informative and quite interesting to have them together: you get a sense of a trajectory.
NARRATOR: Alexander S. C. Rower is President of the Calder Foundation, and the grandson of the artist.
ALEXANDER S. C. ROWER: And also, you get a sense of really the 20th century in terms of aesthetics, just in these two objects.

– Lily Hansen, SAM Marketing Content Creator

Muse/News: Dragon Year, Gum Pete, and Art Gardens

Rachel Eggers on Jan 29 2024

SAM News

Julie Dodobara for ParentMap recommends “Lunar New Year Events for Seattle-Area Kids and Families in 2024,” including the Seattle Asian Art Museum’s celebration on Saturday, February 3. Ring in the Year of the Dragon with us!

While there, you could also take in the Seattle Asian Art Museum’s exciting new exhibition, Anida Yoeu Ali: Hybrid Skin, Mythical Presence. In her new Seattle Magazine column, “Social in Seattle,” Linda Lowry highlights several area events that combined community and art, including the opening events with the artist. For UW Daily, Avery Cook writes how the Tacoma-based artist “blends art and activism to spark important conversations.”

“Vibrant images, breathtaking videography, and genuine artifacts from the performances are on display to demonstrate their influence and cultural significance.”

Seattle Museum Month kicks off this week, reports Emily Molina for 425 Magazine. During the month of February, Visit Seattle partners with area museums for half-off savings. Molina mentions Calder: In Motion, The Shirley Family Collection at the Seattle Art Museum as one of the shows you can see during the month. And ICYMI: Christie’s includes the exhibition on their list of “the best exhibitions and openings of 2024: North America.”

Local News

Crosscut’s Brangien Davis celebrates five years of the weekly ArtSEA post (congrats!) with ideas for forest bathing in tree art, including the Enter the Forest show that opens this Wednesday at SAM Gallery.

Moira Macdonald of The Seattle Times interviews actor and Seattle theater alum Lily Gladstone about her historic Oscar nomination.

The Seattle Times on oft-viral local artist Rudy Willingham’s latest project: “Sticky Pete Carroll mural honors the gum-chomping former Seahawks coach.”

“‘There was something about the gum I thought was so funny,’ Willingham said. ‘He always had gum in his mouth, running up the sidelines, it reminded me of a little kid. I loved how much he enjoyed the job and his childlike enthusiasm.’”

Inter/National News

Laurel Graeber for the New York Times on Artland: An Installation by Do Ho Suh and Children at the Brooklyn Museum, “an ever-expanding fantasy world designed and molded by children.”

ARTnews’ Alex Greenberger reviews Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980, now on view at the Walker Art Center.

Emily Steer for Artnet asks, “Are gardens the art of the future?”

“Some artists, however, have taken these interests a step further, elevating the idea of gardening to an expansive, awe-inspiring effect. These artists combine ambitious organic or digital plants with music, poetry, and scientific collaboration.”

And Finally

The Milwaukee Public Library is the best thing on social media right now.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Chloe Collyer.

Muse/News: Performance Art, Feminist Masks, and 2024 Must-Sees

Rachel Eggers on Jan 16 2024

SAM News

Anida Yoeu Ali: Hybrid Skin, Mythical Presence opens this Thursday at the Seattle Asian Art Museum! The Seattle Times included the exhibition on its list of “most anticipated Seattle exhibits of 2024,” and Gayle Clemans interviewed the artist for a preview of the exhibition, which celebrates two of Ali’s performance-based works, The Buddhist Bug and The Red Chador.

“‘This humorous creature provides a lot of joy to people,’ Ali said in a recent interview. ‘It’s really beautiful to see how approachable this entity is, especially amongst children and families. ‘The Buddhist Bug’ has a way of softening people and eliciting curiosity.’”

And it’s the final week to see Hokusai: Inspiration and Influence. Here’s Allyson Levy for International Examiner on the hugely popular exhibition.

“Ukiyo-e was considered low-brow art due to the highly reproducible nature of woodblock prints, which reigned supreme during the movement. Woodblock prints allowed artists to create a high volume of prints that they could sell cheaply. Even so, the level of detail and sophistication of technique found in woodblock prints is awe-inspiring.”

Looking back: The Seattle Times included Calder: In Motion, The Shirley Family Collection on their list of “top Seattle-area arts and culture happenings of 2023.” Hot tip: The exhibition is on view through the summer—and it rewards repeat viewings.

Local News

Shin Yu Pai for University of Washington Magazine on Cheryll Leo-Gwin’s solo show, Larger Than Life, now on view at The Jack Straw Cultural Center, which “features large-scale colorful prints that use the Chinese coat as a recurring motif.”

Crosscut’s Brangien Davis welcomes 2024 with an overview of colorful shows on view at Seattle galleries.

Via Susan Platt for International Examiner: “Ceramicist Hanako O’Leary interweaves Shinto mythology with feminist ideology.”

“…We experience a powerful feminism that looks at women holding each other and life size masks transformed from historical traditions to suggest the many sides of strong women.”

Inter/National News

A New York Times interactive exploring “the very personal collections that seven artists left behind.”

Hyperallergic names “The Top 50 Exhibitions of 2023,” including the major retrospective of Jaune Quick-to-See Smith that debuted last year at the Whitney Museum of American Art. Your chance to see this groundbreaking exhibition is coming soon, when the exhibition opens at SAM on February 29.

Artnet names “12 Must-See U.S. Museum Shows in 2024,” including Joyce J. Scott, Walk a Mile in My Dreams, a retrospective that debuts at the Baltimore Museum of Art in March before heading to SAM this November.

“‘Joyce J. Scott’s sophisticated and virtuosic use of a wide range of materials brings beauty and biting irony to bear on subjects ranging from the traumatic to the transcendental,’ the show’s co-curators, Cecilia Wichmann and Catharina Manchanda, said upon announcing the show last summer.”

And Finally

Weird cats of art history.

– Rachel Eggers, SAM Associate Director of Public Relations

Image: Live Performance of The Buddhist Bug at Wei-Ling Contemporary Gallery, Kuala Lumpur, Malaysia, 2019, Anida Yoeu Ali, Cambodian American, b. 1974, Image courtesy of the artist, photo: Nina Ikmal.

Muse/News: Spotting Calder, The Other Curtis, and Smith’s Curation

Rachel Eggers on Nov 20 2023

SAM News

“Seattle Art Museum Becomes the Alexander Calder Destination with Shirley Family Collection”: Chadd Scott of Forbes tells you everything you need to know about Calder: In Motion, The Shirley Family Collection and the future of Calder exploration at SAM.

“By any standard, Calder is an essential. He’s one of the few artists who most people have seen, even if they don’t know it, or his name. They’ve seen his work on the street or in a museum or in a book or on TV. And once introduced, they’ll never forget it–‘oh, that’s a Calder!’”

Ann Binlot of Galerie highlighted the journey of Jon Shirley’s collecting of Calders.

“‘He created a whole new art form,’ said the collector. ‘He created sculpture that’s open to hang in space and incidentally move. There’s just something about how my brain works that I really enjoyed being with the works.’”

José Carlos Diaz, exhibition curator and Susan Brotman Deputy Director for Art, appeared on New Day NW to fill host Amity Addrisi in on this exciting moment at SAM when you can see both Hokusai: Inspiration and Influence and Calder: In Motion.

And at the Seattle Asian Art Museum, you’ve got just two weeks left to see Renegade Edo and Paris! Here’s Bob Knetzger for Boing Boing’s take on the prints exhibition.

“It’s a real treat to get to see up close the amazingly precise and exquisitely small Japanese woodcuts—and have them right next to the GIANT lithographed posters advertising Parisian shows and entertainers.”

Local News

The Seattle Times’ Tat Bellamy-Walker—along with videographers Kevin Clark & Lauren Frohne—sits in on a rehearsal of the Jafra Dabke Team, a Seattle-based Palestinian dance group, who performed at LANGSTON this weekend as part of a cultural education and community event.

“Ties that bind”: Shannon M. Lieberman for Oregon ArtsWatch on a new gallery show of works by Omak, Washington-based Joe Feddersen.

Knute Berger and Stephen Hegg revisit an earlier Mossback Northwest episode, “The Other Curtis Brother,” examining the regional photographer Asahel Curtis. It turns out that the episode generated many new Curtis finds from the public, which the Washington State Historical Society is working to digitize.

“The digitization is going well but slowly, Berger reports: ‘They can do about a hundred images a day.’ But amazing discoveries are being made already: ‘They’re finding everything from news photos [to] promotional photos of landscapes, pictures of all kinds of people in all walks of life.’”

Inter/National News

Via Brian Boucher of Artnet: “Help! 7 Times People Got Trapped Inside Artworks—Whether by Choice or by Accident.”

“Meet the African Artists Driving a Cultural Renaissance”: Dive into this New York Times multimedia project by Abdi Latif Dahir and Veronica Chambers, part of a larger series on “how Africa’s youth boom is changing the continent, and beyond.”

ARTnews’ Alex Greenberger on the National Gallery of Art’s exhibition of contemporary Native art, “organized with grace” by the artist Jaune Quick-to-See Smith. (Hot tip: you can see Smith’s dazzling retrospective at SAM next spring!)

“[The exhibition] proves that Native American artists cannot be pigeonholed into one aesthetic—or even one medium—and that their output has taken up the painful remnants of colonialism via a range of subjects. Smith’s exhibition also demonstrates that the struggle for land rights continues to impact not just the objects these artists make, but their outlook on the world as well.”

And Finally

Still digging in the archives thanks to the Calder Foundation: “Sculpture and Constructions, 1944 by Herbert Matter.”

– 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: Alborz Kamalizad.

Muse/News: Calder Surprises, Cultural Space, and Native Knowledge

Rachel Eggers on Nov 13 2023

SAM News

“A tender new show at the Seattle Art Museum will delight and surprise Calder newbies and connoisseurs alike.” Margo Vansynghel of The Seattle Times reviews Calder: In Motion, The Shirley Family Collection, which is curated by José Carlos Diaz, SAM’s Susan Brotman Deputy Director of Art. The review appeared in print in the Sunday edition.

“These days, so many institutions find themselves competing with the tumult on our screens or with immersive “museums” where visitors take selfies in front of LED walls. Here, nothing shouts. You can take these sculptures in all at once, but consider taking your time to follow the minuscule movement of a small perforated disc or a wispy metal petal as they react to the movements of our bodies in space. Your patience will be rewarded.”

Crosscut’s Brangien Davis featured the Calder exhibition in her ArtSEA post, sharing details about Calder’s Seattle connections and collector Jon Shirley’s assertion that “everything looks better here than in our house.”

“Calder wasn’t a fan of imposing “meaning” on his works, preferring instead that they be experienced in the moment—enjoyed for their… physicality and wonder. You’ll have plenty of chances to do so, as this show is the first in a Shirley-funded plan for annual exhibits, programming, and collaborations, including with artists influenced by Calder.”

And Kurt Schlosser of Geekwire spoke with collector Jon Shirley about the former Microsoft executive’s love of in-person art.

“Shirley said Calder’s hands-on creation of art always appealed to him, and while artificial intelligence is a big deal at Shirley’s former company and across the tech and cultural landscape, art remains a physical creation in his view.”

Local News

Grace Madigan of KNKX reports that ArtsWA has approved grants for 17 arts programs serving military communities and veterans.

Seattle Met names The Boat its “Restaurant of the Year” for how sisters Quynh and Yenvy Pham brilliantly renewed their family’s restaurant’s history as Seattle’s first pho shop.

Dominic Gates of The Seattle Times shares news of another exciting opening event: a new cultural hub for five youth-focused community organizations in the historic King Street train station.

“Olisa Enrico, executive director of the Cultural Space Agency that developed the project, called it ‘a new home here for young artists to thrive, a safe haven for artistic expression.’ It will feed the ‘dreams of young minds, who will find inspiration and a sense of belonging here,’ she told the diverse audience. ‘You belong here.’”

Inter/National News

Via Andy Battaglia of Art in America: “Nicholas Galanin’s Pointed Public Sculpture Inspires Glorious Noise in New York.”

“In quiet yet scrupulous detail, the exhibition asks how the US National Park Service (NPS) shapes the narratives it tells about this country and the lands it claims”: Alexis Clements for Hyperallergic on a new show at LA’s Center for Land Use Interpretation (CLUI).

Taylor Defoe invites Jaida Grey Eagle to highlight four key works now on view in an exhibition she guest-organized: In Our Hands: Native Photography, 1890 to Now at the Minneapolis Institute of Art.

“‘I don’t look at this as a beginning,’ Grey Eagle said, alluding to the colonialist logic of racing to be the first to put a name on something. ‘I look at it as an acknowledgment. There have been many people who have dedicated their lives to this medium and I don’t ever want to erase their work.’ The show, she went on, is about ‘honoring the knowledge that has been there and that museums have failed to support.’”

And Finally

Another gem from the Calder Foundation archives: “From the Circus to the Moon” (1963) by Hans Richter.

– Rachel Eggers, SAM Associate Director of Public Relations

Muse/News: Tremendous Hokusai, Indigenous Fashion, and a Gentileschi Revealed

Rachel Eggers on Oct 23 2023

SAM News

All that’s fit to print! SAM exhibitions were featured in the print editions of two Sunday newspapers:

Calder: In Motion, The Shirley Family Collection, which opens in the double-height galleries of November 8, was previewed by Tanya Mohn for the New York Times, who told the story of “giving the gift of Calder.”

“‘Because of Jon Shirley’s meticulous collecting,’ said José Carlos Diaz, curator of the show and deputy director for art at the museum, ‘we have representation of basically every type of work Calder did as a professional artist from the ’20s, all the way to his death in 1976. It helps us create one of the most important collections of the 20th century in Seattle.’”

And the just-opened Hokusai: Inspiration and Influence, from the Collection of the Museum of Fine Arts, Boston was reviewed by Gemma Wilson of the Seattle Times, who offered “5 highlights of Seattle Art Museum’s tremendous new Hokusai exhibit.”

“Investigate these prints and you’ll notice the tiny details that give his work such a sense of dynamism: snow blowing in, a hat rolling away, water rushing under a bridge. ‘Landscapes so gorgeous they knocked people’s socks off,’ said [MFA Boston curator Sarah] Thompson.”

The dazzling Hokusai exhibition was also recommended by Mike Davis of KUOW, Charles Mudede of The Stranger, and Brangien Davis of Crosscut (who goes birding in this week’s edition of arts picks).

Local News

Via Margo Vansynghel of the Seattle Times: “Meet Gülgün Kayim, the new director of Seattle’s Office of Arts & Culture.”

Jas Keimig for South Seattle Emerald on the launch of FILIPINOTOWN Magazine, “a new publication dedicated to highlighting the diversity and strength of the Filipino American community in Seattle.”

Fashion and culture writer Andrew Hoge with his first Seattle Times story on the Eighth Generation blanket that draped actor Lily Gladstone on the cover of British Vogue. (There’s a callback to SAM’s 2018 Double Exposure exhibition.)

“A cover feature is an impressive milestone for any brand. For Eighth Generation, however, it’s an essential step in the company’s mission to flip the narrative on consuming Indigenous culture and art.”

Inter/National News

Hilarie Sheets for the New York Times on the transfer of a five-ton sculpture by Richard Lippold from Lincoln Center to La Guardia Airport.

Elena Goukassian of the Art Newspaper on Ann Philbin’s retirement from The Hammer Museum in Los Angeles after 25 years as its director.

Sarah Cascone of Artnet on how a female nude by Artemisia Gentileschi, once “prudishly censored by heavy drapes of blue,” is now restored by digital imaging technology.

“…restoration scientists went over the painting—which curators removed from the ceiling for the first time in its history—with a fine toothed comb, examining every nanometer and every thin layer of paint.”

And Finally

The New Yorker’s Sasha Frere-Jones on Ryuichi Sakamoto.

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Chloe Collyer.

Muse/News: Fall Arts, Departing Thoughts, and Viva Boterismo

Rachel Eggers on Sep 18 2023

SAM News

It’s the best time of the year: fall arts! Dive into coverage from both The Seattle Times and The Stranger. On our cheat sheet for visual arts coverage is the Seattle Times’ recommendation for “9 Seattle-area art exhibits to catch in fall 2023,” including shoutouts to two huge SAM shows for two iconic artists, Katsushika Hokusai and Alexander Calder; The Stranger includes both shows on its list, too.

You’ve got two weeks to hit the Central District streets to see the public art outdoor exhibition Femme Noire. It was recently blurbed in The Stranger and Crosscut, and Jas Keimig interviewed Elisheba Johnson of Wa Na Wari about the project for South Seattle Emerald.

“Throughout the day, we’re constantly accosted by all sorts of visual stimuli—cars whooshing past on the street, ads on every conceivable visible space, the endless scroll of our social media feeds. These banners—thoughtfully placed near busy street corners, bus stops, and benches—offer a moment of contemplation and curiosity for the viewer on the street. ‘We’re showcasing, through community partners and public activation, the power of seeing Black art,’ said Johnson.”

“Romantic Weekend Guide for LGBTQ+ Couples”: Jon Bailey for Vacationer Magazine shares the whirlwind details of a recent visit to Seattle with his husband, Triton. Thanks for visiting SAM!

Local News

“The arts are still in recovery.” That’s one respondent to a recent survey of King County arts organizations conducted by the Seattle Times. Reporter Margo Vansynghel shares all the insights on why this fall season will be “crucial” for the arts.

And here’s new Seattle Times arts and culture reporter Gemma Wilson on another current trend among regional arts: a “once-in-a-generation” leadership change across various sectors.

One of those departing—after 15 years at helm!—Sylvia Wolf of the Henry Art Gallery, shares thoughts with Hannelore Sudermann for the University of Washington Magazine.

“She also points to the Frye Art Museum, the Henry and the Seattle Art Museum as fulfilling the notion that civil society is advanced with having art and culture as part of the landscape. Yet with the population and the wealth in the region, there is untapped potential for further elevating the arts here. ‘We could be placing Seattle as one of the best arts cities in the country,’ Wolf says, ‘but we’re not there yet.’”

Inter/National News

Ten years of Culture Type! Victoria L. Valentine shares the “Top 10 Most Read Posts” since the launch of the site that covers art, history, and culture from a Black perspective.

Will Heinrich gathers “More Than 90 Art Shows and Exhibitions to See This Fall” for the New York Times’ fall arts preview.

Via Taylor Defoe of Artnet: RIP to Colombian artist Fernando Botero, who passed away at the age of 91.

“Across a seven-decade-long career, Bottero developed a style—sometimes referred to as ‘Boterismo’—that was unmistakably his own. His subjects, often middle-class laborers in moments of leisure or celebration, bore pinched facial features and plump frames. His depictions of food and land were similarly sumptuous. References to European art history shaped his painted scenes; so did a pair of competing impulses under the surface: humor and social critique.”

And Finally

“Seattle’s Lusty Lady marquee comes down.” (Not to worry; it will rise again.)

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Alborz Kamalizad.