Tag Archives: SAM

Dr. Wilda Reviews: American Artist Jacob Lawrence’s Migration Series at SAM

12 Feb

Moi joined the press preview of American Artist Jacob Lawrence’s series “The Migration Series” which was exhibited in it’s entirely from the collections of The Museum of Modern Art and The Phillips Collection at the Seattle Art Museum (SAM). Rarely, has the entire collection been seen. The series explores the migration of African Americans from the South to the North. Here are the details:

Jacob Lawrence: The Migration Series
Sat Jan 21 – Sun Apr 23 2017
Seattle Art Museum
Third Floor Galleries

The History Chanel describes the Great Migration:

After the post-Civil War Reconstruction period ended in 1876, white supremacy was largely restored across the South, and the segregationist policies known as Jim Crow soon became the law of the land. Southern blacks were forced to make their living working the land as part of the sharecropping system, which offered little in the way of economic opportunity, especially after a boll weevil epidemic in 1898 caused massive crop damage across the South. And while the Ku Klux Klan (KKK) had been officially dissolved in 1869, it continued underground after that, and intimidation, violence and even lynching of black southerners were not uncommon practices in the Jim Crow South.

Did You Know?

Around 1916, when the Great Migration began, a factory wage in the urban North was typically three times more than what blacks could expect to make working the land in the rural South.   

After World War I broke out in Europe in 1914, industrialized urban areas in the North, Midwest and West faced a shortage of industrial laborers, as the war put an end to the steady tide of European immigration to the United States. With war production kicking into high gear, recruiters enticed African Americans to come north, to the dismay of white Southerners. Black newspapers–particularly the widely read Chicago Defender–published advertisements touting the opportunities available in the cities of the North and West, along with first-person accounts of success.

GREAT MIGRATION: LIFE FOR MIGRANTS IN THE CITY

By the end of 1919, some 1 million blacks had left the South, usually traveling by train, boat or bus; a smaller number had automobiles or even horse-drawn carts. In the decade between 1910 and 1920, the black population of major Northern cities grew by large percentages, including New York (66 percent) Chicago (148 percent), Philadelphia (500 percent) and Detroit (611 percent). Many new arrivals found jobs in factories, slaughterhouses and foundries, where working conditions were arduous and sometimes dangerous. Female migrants had a harder time finding work, spurring heated competition for domestic labor positions.

Aside from competition for employment, there was also competition for living space in the increasingly crowded cities. While segregation was not legalized in the North (as it was in the South), racism and prejudice were widespread. After the U.S. Supreme Court declared racially based housing ordinances unconstitutional in 1917, some residential neighborhoods enacted covenants requiring white property owners to agree not to sell to blacks; these would remain legal until the Court struck them down in 1948…. http://www.history.com/topics/black-history/great-migration

Lawrence’s 60 panels tell the story about this movement of African American people and culture.

The Phillips Collection provides a concise biography of Mr. Lawrence:

JACOB LAWRENCE (1917–2000)
 

A celebrated painter, storyteller, and interpreter of the African-American experience, Jacob Lawrence was born in Atlantic City in 1917 to a couple who had moved from the rural South to find a better life in the North. After their parents separated, Lawrence and his two younger siblings lived in settlement houses and foster homes in Philadelphia until their mother could support them in New York. He came to New York in 1930, at the age of thirteen, and quickly discovered art as a means of expression. Lawrence’s education in art was both informal—observing the activity and rhythms of the streets of Harlem—and formal, in after-school community workshops at Utopia House and later at the Harlem Art Workshop. At both centers he was able to study with the prominent artist, Charles Alston, and in the course of his work, he became immersed in the cultural activity and fervor of the artists and writers who led the Harlem Renaissance, Alston among them. Lawrence received a scholarship to the American Artists School, and he began to gain some notice for his dramatic and lively portrayals of both contemporary scenes of African-American urban life as well as historical events, all of which he depicted in crisp shapes, bright, clear colors, dynamic patterns, and through revealing posture and gestures. Lawrence’s mother had hoped he would choose a career in civil service, but members of the creative community, including poet Claude McKay and sculptor Augusta Savage, encouraged him to become an artist. He was painting, he said, “a portrait of myself,” in his portraits of the Harlem community. In 1938, Lawrence had his first solo exhibition at the Harlem YMCA and started working in the easel painting division of the WPA Federal Art Project. In 1940, he received a grant from the Rosenwald Foundation to create a series of images on the migration of African-Americans from the South. The painter Gwendolyn Knight assisted him on the captions for the images and initial coating of the panels. They married in 1941. The same year The Migration of the Negro series had its debut at the Downtown Gallery. Lawrence was the first artist of color to be represented by a major New York gallery, and the success of this exhibition gave him national prominence.

Lawrence was active as both a painter and art educator. He taught at Black Mountain College in North Carolina in 1946, and later at the Skowhegan School of Painting and Sculpture in Maine and the New School for Social Research in New York. In 1971, Lawrence became a professor of painting at the University of Washington in Seattle. In his later career he was also known for his serigraphs (silkscreens), many of them versions of series of paintings completed in earlier years, as well as for his book illustrations. Lawrence was still drawing and painting in preparation for still another series of works when he died in Seattle in 2000.             http://www.phillipscollection.org/research/american_art/bios/lawrence-bio.htm

Mr. Lawrence agreed to a joint purchase of The Migration Series.

The Whitney Museum described The Migration Series:

I don’t think in terms of history about that series. I think in terms of contemporary life. It was such a part of me that I didn’t think of something outside. It was like I was doing a portrait of something. If it was a portrait, it was a portrait of myself, a portrait of my family, a portrait of my peers.
Jacob Lawrence1

In 1940 Jacob Lawrence received a $1,500 fellowship from the Rosenwald Foundation to complete a series of panels on the  Great Migration. Lawrence conducted research at The  Schomburg Collection in Harlem and completed the series in 1941.

I did plenty of research in books and pamphlets written during the migration, and afterward…I took notes. Sometimes I would make ten or twenty sketches for one incident…By the time I started work on the (Migration Series), I was more conscious of what I wanted to do. I was looking consciously at things and for things.
Jacob Lawrence2
Although the series was originally meant to remain together as one work, that winter the artist agreed to a joint purchase by  The Museum of Modern Art and the  Phillips Collection.

Lawrence’s Migration Series depicts the migration of African Americans from the rural South to the urban North during and after World War I. The Great Migration was the largest movement of black people since slavery removed Africans to the Americas. Lawrence’s sixty panels portray the story of people seeking a better life. The captions for each image combine history, sociology, and poetry in a visual narrative.

The railroad is the link in the series of events that comprise Lawrence’s epic story. The narrative cycle begins and ends with images of a train station. In the first panel, African Americans embark on their journey from the South to the North, through time and geography, conflict and hope. Scenes of the train station are repeated throughout the series ending with the text “And the migrants kept coming.”

In the first half of the series, the South is depicted as a bleak, rustic landscape where social inequities and injustice prevail–poverty, hunger, segregation, lynching, and discrimination are commonplace facts of life. Some scenes are portrayed as if seen from a moving train; the North appears only as names of train destinations.

In contrast to the environment of the South, the second half of the narrative depicts the buildings, people, and industry of the urban North. The final section of The Migration Series focuses on the new African-American communities of the North–the positive effects of improved social conditions as well as the ensuing conflicts of overcrowding and race riots.                                                                                                   https://whitney.org/www/jacoblawrence/art/migration_series.html

The August 4 SAM press release described SAM’s involvement. http://www.seattleartmuseum.org/Documents/Migration%20Series_press%20release.pdf

Moi was struck by the comment of Barbara Earl Thomas, who in addition to being a student of Mr. Lawrence is the current Vice President of the Jacob and Gwendolyn Lawrence Foundation. Ms. Thomas said emphatically, “It is fitting and timely that Jacob Lawrence, great American Painter, be celebrated by those who knew him and loved him.” That is the takeaway from the exhibit. Mr. Lawrence has migrated from the box of being just an extraordinary African American painter to a great American painter in the way that Picasso was a great Spanish painter who captured the soul of his country with Guernica http://www.pablopicasso.org/guernica.jsp Those who are masters of their craft migrate beyond time and culture to embrace an audience that has no boundaries of age, race, or culture. Good art has the ability to move people.

A comment moi and others have made when first seeing the Mona Lisa at the Louvre is that it is so small. Like the Mona Lisa, the panels are very small. At another viewing, one might remark, the art is not small, but one has grown and now appreciates the meaning.

For those who are not only interested in great art, but one American master’s observation of a thread that has been woven into the fabric of the American people, The Migration Series is a must see. A definite thumbs up from Dr. Wilda.

Other Reviews:

‘Jacob Lawrence: The Migration Series,’ by Leah Dickerman and Elsa Smithgall               https://www.nytimes.com/2015/06/28/books/review/jacob-lawrence-the-migration-series-by-leah-dickerman-and-elsa-smithgall.html?_r=0

Telling the Whole Story: Jacob Lawrence’s “The Migration Series.”                                   http://www.newyorker.com/magazine/2015/04/20/telling-the-whole-story

An Artistic Feast: Jacob Lawrence’s 60-Piece Migration Series on Display in NYC      http://www.theroot.com/an-artistic-feast-jacob-lawrence-s-60-piece-migration-1790859414

Resources:

Jacob Lawrence: Exploring Stories – Whitney Museum of American Art                                   http://whitney.org/www/jacoblawrence/meet/

The Jacob and Gwen Knight Lawrence Visual Resource Center                                                  http://www.jacobandgwenlawrence.org/

Jacob Lawrence facts, information, pictures                                                                               http://www.encyclopedia.com/people/literature-and-arts/american-art-biographies/jacob-lawrence

Elizabeth McCausland, “Jacob Lawrence,” in Ellen Harkins Wheat, ed., Jacob Lawrence: American Painter (Seattle: University of Washington Press in association with the Seattle Art Museum, 1986), p. 60.

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Dr. Wilda Reviews: Seattle Art Museum: Yves Saint Laurent – The Perfection of Style

10 Oct

Talent hits a target no one else can hit; Genius hits a target no one else can see.             Arthur Schopenhauer

Moi attended the press preview for Yves Saint Laurent – The Perfection of Style at Seattle Art Museum (SAM). Here are the details:

Yves Saint Laurent: The Perfection of Style

Tue Oct 11 2016 – Sun Jan 8 2017

Seattle Art Museum

Simonyi Special Exhibition Galleries

Get Tickets     https://tickets.seattleartmuseum.org/public/show_events_list.asp?shcode=942&secode=771&vencode=1

“I am no longer concerned with sensation and innovation, but with the perfection of my style.”
–Yves Saint Laurent

The Seattle Art Museum presents Yves Saint Laurent: The Perfection of Style, showcasing highlights from the legendary designer’s 44-year career. Drawn from the collection of the Fondation Pierre Bergé—Yves Saint Laurent, the exhibition features new acquisitions by the Foundation that have never been shown publicly before.

With a selection of 100 haute couture garments, SAINT LAURENT rive gauche clothing and accessories, photographs, drawings, films and other multimedia elements from the Foundation’s vast archive, the exhibition creates a visually rich environment for visitors to witness the development of Saint Laurent’s style and recurring themes throughout the designer’s career. The multifaceted exhibition is curated by independent Parisian curator and fashion expert Florence Müller in collaboration with Chiyo Ishikawa, SAM’s Deputy Director of Art and Curator of European Painting & Sculpture.

Visitors will observe Saint Laurent’s immersive working process from his first sketch and fabric selection to the various stages of production and fitting before the final garment was realized. Beginning in 1953 with the Paper Doll Couture House that he created when he was a teenager, the exhibition is a journey from his first days at Dior in 1958, through his groundbreaking designs in the 1960s and 70s and the splendor of his final runway collection in 2002.

The exhibition is organized by the Seattle Art Museum in partnership with the Fondation Pierre Bergé – Yves Saint Laurent, Paris

Special Hours

  • Monday 10 am – 5pm
  • Closed Tuesday
  • Wednesday 10am – 5pm
  • Thursdays 10am – 9pm
  • Friday – Sunday 10am – 5pm

Daily Prices

  • $24.95 Adult
  • $22.95 Senior (62+), Military (with ID)
  • $14.95 Student (with ID), Teen (13 – 17)
  • FREE for children (12 and under)
  • FREE for SAM Members

Yves Saint Laurent: The Perfection of Style [Book]

Author: Florence Müller

Publisher: Rizzoli International Publications, Incorporated

Pages: 168

Format: hardback

Publication Date: 2016

ISBN: 0847849422

Here is the site:  http://ysl.site.seattleartmuseum.org/

This is how SAM described the exhibit in the press release:

ABOUT THE EXHIBITION

The exhibition guides viewers on a path tracing the trajectory of Yves Saint Laurent’s life and career. Divided into eight thematic sections, it features 110 Ensembles illustrative of his tremendous achievements and the sources of his design inspiration.

The exhibition begins with Saint Laurent’s “Paper Doll Couture House,” shown For the first time in the United States. The paper dolls and corresponding wardrobes and accessories were created by the designer as a teenager on the precipice of a lifetime of fame and success.

Ensembles early in the exhibition focus on Saint Laurent’s formative years at the House of Dior, including an example of a short evening dress from his successful debut Trapeze collection (1958). Later ensembles from Saint Laurent’s own couture house spotlight innovations that redefined women’s

fashion: the peacoat (1962), the tuxedo (1966), the “First” pantsuit (1967), the safari jacket (1968).

Visitors will also see how Saint Laurent was inspired by art. The exhibition includes one of his famous dresses that pays homage to Piet Mondrian (1965) and dresses inspired by Pop art (1966). Also on view is an evening ensemble comprising a raffia coat and a silk dress embroidered with wooden beads

(1967) loosely based on African art. In addition to ensembles fully accessorized in the “total look” favored by Saint Laurent, numerous photographs, drawings, and production documents offer a rare behind-the-scenes glimpse into the creative workings of the fashion house and the private life of the couturier. Collection boards from 1962 to 2002—every Saint Laurent haute couture show—feature sketches and swatches that retrace 40 years of the maison de couture’s fascinating history. A room of muslins, the hand-sewn forms ateliers use to create a first draft of couture garments, offer a unique look into how the garments were constructed.

The exhibition concludes in an explosion of color with a procession of evening wear ranging from black silk (1977) to blue-green chiffon (1985) to red silk crepe (1985) gowns to a white damask wedding gown (1995)—the traditional ending to an Yves Saint Laurent couture show.

The multifaceted exhibition is curated by Florence Müller, guest curator and Denver Art Museum’s Avenir Foundation Curator of Textile Art and curator of fashion in collaboration with Chiyo Ishikawa, SAM’s Deputy Director of Art and Curator of European Painting and Sculpture…..

After SAM, the exhibition will travel to the Virginia Museum of Fine Arts from

May 6–August 27, 2017….

British Vogue has a concise biography.

Jo Craven wrote about Saint Laurent in  British Vogue:

Yves Saint Laurent’s legacy as a king of fashion designers, who created a masterpiece of a brand, keeps growing.

  • Yves Saint Laurent was born in 1936 and grew up in Oran, Algeria
  • At 17, he left for Paris where he showed his drawings to Michelde Brunhoff – director of French Vogue – who publishedseveral of them immediately
  • Following a stint at fashion school, Yves Saint Laurent was introduced to Christian Dior where he worked until Dior’s death in 1957
  • After taking over as art director for Dior, Yves Saint Laurent launched his first collection for the company, the Ligne Trapéze, that year. It was a resounding success and won him a Neiman Marcus Oscar
  • In 1962, after completing National Service, Yves Saint Laurent set up his own fashion house with Pierre Bergé
  • In 1966, he introduced le smoking – his legendary smoking suit. His other inventions include the reefer jacket (1962), the sheer blouse (1966), and the jumpsuit (1968)
  • In October 1998 Yves Saint Laurent showed his last ready-to-wear collection for the Rive Gauche label he had founded more than 30 years before. He carried on his haute couture until 2002
  • After a brief stint with Alber Elbaz as designer, in 1999 Tom Ford arrived to take control at the house. The brand entered the stratosphere where it remains today, covering perfume and menswear as well as womenswear.
  • At his last show, in 2002, a tearful Yves Saint Laurent tookhis final bow as his long-time muse, Catherine Deneuve, sang MaPlus Belle Histoire d’Amour. Stefano Pilati, who replaced TomFord in 2005, continues Yves Saint Laurent’s message that “dressingis a way of life”.
  • Yves Saint Laurent died after a long period of ill health at his home in Paris on June 1, 2008. He was 71.

http://www.vogue.co.uk/article/yves-saint-laurent-biography

SAM’s exhibit of 110 fashion exhibits is organized around the following themes as described in the Gallery Guide:

The Little Prince of Fashion

The Beatnik Couturier

The Celebrity Couturier

A Living Legend

Never Too Much

Contradictory Impulses

The Genders

A Modular Wardrobe

The Alchemy of Style

African Art

The Pop Movement

Mondrian and Pop Art

From Darkness to an Explosion of Color

Claire Marie Healy wrote about Bowes Museum, County Durham and their exhibit of Saint Laurent:

Before the exhibition opens this weekend, here’s just five reasons why a dip into the YSL archives is more relevant than ever.

HIS TAKE ON ANDROGYNY STARTED A REVOLUTION

When Saint Laurent debuted Le Smoking in 1966 – a menswear-inspired tuxedo, tailored for women – it became an instant classic for women who wanted to appear equal parts glamorous and strong. Entering the cultural consciousness at a time when many second-wave feminists avoided discussing fashion directly, it radicalised eveningwear and irrevocably transformed the way women dressed. Made iconic by famous devotees like Nan Kempner, Betty Catroux and Bianca Jagger, the look told the world that if women are ever going to wear the trousers, they should be able to wear them to their wedding day and Studio 54 alike.

HE MADE ART AND FASHION COLLIDE

While mining one another’s inspirations is now par for the course in the fashion and contemporary art worlds, Saint Laurent was among the first to tap the gallery for the runway. Sending out clothing inspired by Andy Warhol, Van Gogh and Georges Braque in the ’60s and ’70s, his 1965 Mondrian collection is the most enduring collaboration: containing six shift dresses in homage to Piet Mondrian, the colourful designs punctuated the modernist spirit of an entire generation.

HE FREED THE NIPPLE BEFORE INSTAGRAM WAS A THING

The on-going fight to #freethenipple on present-day social media reveals the trailblazing nature of Saint Laurent’s taste for sheer throughout his design career. Rebelling in a different way in the era of the miniskirt, Saint Laurent’s models would always go braless under sheer organza blouses and couture gowns with a feathered trim. And much like today’s campaign, the decision was less about pleasing the onlooker, and more about asserting equality between the sexes.

HE CHAMPIONED DIVERSITY IN FASHION

In a fashion industry where white-washing is still an issue, it’s worth revisiting the designer who went against the grain with his focus on diverse casting in the ’60s and ’70s. Saint Laurent made major strides in diversity that are still being felt today, tapping black models like Iman, Rebecca Ayoko and Katoucha Niane for his muses over the years. Queen Naomi herself – who just this week spoke out against industry racism – even credited the designer with giving her her first Vogue cover. As she said on news of his death in 2008, “He has done so much for people of colour.”

HE STARRED IN HIS OWN CAMPAIGNS

Today, you’re increasingly likely to see a designer star in his or her own campaign – or, in the case of Donatella for Givenchy, another label’s campaign altogether. But several decades before Marc Jacobs’ beefed up body illustrated the benefits of nude self-promotion, Yves Saint Laurent’s (slightly less oiled) physique broke new ground in fragrance advertising in 1971. Photographed by Jeanloup Sieff, the black and white image for YSL Pour Homme was hardly published anywhere at the time – though it would come to resonate with the gay community in later years. http://www.dazeddigital.com/fashion/article/25429/1/how-yves-saint-laurent-changed-fashion

When Saint Laurent and Pierre Bergé began saving pieces from each collection, they obviously believed the work of Saint Laurent was important and so artistic and creative that the pieces could be considered art. Zandra Rhodes and the director of the Design Museum, Alice Rawsthorn debated in the Guardian article, Is fashion a true art form?  https://www.theguardian.com/artanddesign/2003/jul/13/art.artsfeatures1  Suzy Menkes also address the question in the New York Times article, Gone Global: Fashion as Art?  http://www.nytimes.com/2011/07/05/fashion/is-fashion-really-museum-art.html  Moi is not prepared to say whether fashion is art. Saint Laurent’s clothes are certainly beautiful at times, creative, and slightly ahead of the culture, but not so far ahead as to not be commercially viable. One notices that many designers have been influenced by his line and vision, Rachel Roy comes to minds. Let intellectuals debate the art issue. What SAM has done is told the story of a genius and how that genius evolved and grew using fashion to express his creativity and demons.

Dr. Wilda gives a definite thumbs up, you will be awed and challenged.

Resources:

The Turbulent Love Story Behind Yves Saint Laurent’s Revolutionary Rise                               http://www.npr.org/2014/06/24/323552220/the-turbulent-love-story-behind-yves-saint-laurents-revolutionary-rise

Yves Saint Laurent, Giant of Couture, Dies at 71                                                                    http://www.nytimes.com/2008/06/02/fashion/02laurent.html

Which Yves Saint Laurent Biopic Should You Watch?                                                             http://fashionista.com/2015/05/which-yves-saint-laurent-biopic-is-better

Fondation Pierre Bergé – Yves Saint Laurent                                                                    http://www.fondation-pb-ysl.net/en/Accueil-825.html

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Dr. Wilda Reviews Seattle Asian Art Museum Reboot

29 Sep

Moi was one of local media invited to attend a press conference which described the current status of the Seattle Art Museum’s (SAM) reboot of the Asian Art Museum. Bryan Cohen   of the Capital Hill Blog provides context in In 2017, Volunteer Park’s Asian Art Museum to close for 18 months for $45M overhaul:

The art museum at the heart of Volunteer Park is preparing for its first major upgrade since it opened its doors 83 years ago. Seattle Art Museum has begun soliciting contractors for an overhaul to its Asian Art Museum that will include adding at least 7,500-square-feet of new gallery and event space, as well as an education studio and art storage space.

SAM plans to close the museum in the spring of 2017 for about 18 months until work is complete. Plans also call for replacing the heating and A/C systems, remodeling the bathrooms, accessibility upgrades, and seismic improvements.

The $28 million project was initially slated to start in 2008 but was delayed due to the financial crisis and collapse of Washington Mutual, which resulted in a “substantial” loss of revenue for the museum. A 2014 agreement approved by the City Council reactivated $11 million of city funds for the project — funds first set aside as part of the 2008 parks levy.

UPDATE: CHS asked for the budget on the project — the $28 million covers only construction. The total planned cost for the overhaul is $45 million, SAM now tells CHS.

“SAM is in the preliminary planning phase of the Asian Art Museum renovation,” a SAM spokesperson writes. “The anticipated total cost for the project is currently estimated to be in the neighborhood of $45 million, but is dependent on the final design to be revealed later this year.”

The building’s Art Deco facade will remain in tact, but some exterior work will be part of the overhaul. The landmarks protected building will also require the approval of the city’s Architectural Review Committee. A spokesperson for SAM said the museum did not have additional details as it is still working with LMN Architects on the designs….                                   http://www.capitolhillseattle.com/2016/06/in-2017-volunteer-parks-asian-art-museum-to-close-for-18-months-for-28m-overhaul/

The project has funds already committed from King County and SAM is hopeful that it will receive funds from Seattle and the State of Washington.

Moi asked two questions during the press conference and after the press conference more questions came to mind. During the press conference moi asked:

  1. Does the update mean that more artifacts now in storage will be permanently displayed?
  2. Since the education space in the proposed building is expanded, does that mean there will be more education programs open to the public?

The questions which moi had after the presentation are:

  1. Given that the expansion is a public-private partnership, why did the public members agree to provide the funds? What is the accountability for the dispersal of the funds, are there benchmarks, and what is the public benefit. This question should probably be addressed to the public bodies.
  2. Does this project fit into the general purpose of the question what is a museum?

A representative of SAM was unsure, at this point, about the amount of new exhibit space and the plan is toward more education programs.

SAM Asian Museum is interesting for a number of reasons including the building and the fact that it is sited at Volunteer Park   http://volunteerparktrust.org/history/  Both the Asian Art Museum and park are on the National Historic Registry and Seattle Landmark Registry. Both the building and park have vocal supporters who are protective of each venue and that loyalty presents challenges to any update or change. Eugene Dillenburg in What, if Anything, Is a Museum?

The Heart of the Matter

Exhibits, I will argue, are the defining feature of the museum. They are what make us different from every other type of public service organization. Exhibits are how we educate. Exhibits are what we do with our collections. Yes, we do other things as well, and those things—research, publication, outreach, programming—are very important. But those things are not unique to the museum. Only the museum uses exhibits as its primary means of fulfilling its public service mission.

Thus, a more robust definition of a museum might be: an institution whose core function

includes the presentation of public exhibits for the public good.A museum can do many things, but to merit that title it must do exhibits….                                                                                      http://name-aam.org/uploads/downloadables/EXH.spg_11/5%20EXH_spg11_What,%20if%20Anything,%20Is%20a%20Museum__Dillenburg.pdf

Dillenburg provides the rationale for the current reboot.

SAM makes the following points at the SAM site:

PRESERVE TODAY. INSPIRE FOREVER.

From its cherished Art Deco façade to the lush urban greenspace that surrounds it, the Asian Art Museum is one of the most beloved treasures in our creative, cultured, and curious city. As SAM’s original home and the heart of beautiful Volunteer Park, the museum is an invaluable anchor in our city’s rapidly changing landscape.

But did you know that our historic museum hasn’t been substantially restored or renovated since its inception in 1933? Join us in this long-overdue initiative to renovate a beloved cultural landmark and preserve a quintessential Seattle experience forever.

Restoring an icon

Think about the first time you saw the Asian Art Museum’s magnificent Art Deco exterior. Or when you played atop the famed camels flanking the front doors—then crossed the threshold to experience exceptional art from around the globe.

These are the experiences that shape Seattle’s visual fabric. The Asian Art Museum has been a part of this shared history since 1933, when Paris-trained architect Carl Gould put the final touches on the museum’s stunning design. In the same year, museum founder Dr. Richard E. Fuller donated to the museum to the city as the first home of SAM, which would eventually be named to the Washington Heritage Register of Historic Places.

In a city where change is as constant as rain in the forecast, our renovation plan ensures the museum’s future.

Protecting our collection

From majestic Buddha sculptures to our iconic early 17th-century Japanese Crows screens to the recently acquired Colored Vases by Chinese artist Ai Weiwei, our collection has been imaginatively curated and expanded for 80 years.

Our renovation plan will help us safeguard these precious works through significant improvements in our heating and cooling systems, art storage, and conservation space. These necessary renovations will help us preserve our treasured collection so that it may be enjoyed for generations to come.

Connecting with Asia

The rich programming of the Asian Art Museum has long explored fascinating, diverse perspectives on Asian history and culture and Asia’s presence in the world. With special exhibitions like Garden and Cosmos: The Royal Paintings of Jodhpur and Chiho Aoshima: Rebirth of the World, the popular Gardner Center for Asian Art and Ideas Saturday University lecture series, and our lively Free First Saturday events for families, our mission is to provide a deep, multi-faceted understanding of Asia, one of the most significant cultural and economic regions in the world.

Our exciting renovation plans include expanding our already exhilarating programming and exhibition and educational spaces, allowing all of us to connect with the continent’s cultures as never before.

ENHANCING AND EXPANDING OUR SPACE

After the proposed expansion, doors in the Fuller Garden Court will lead to a brilliant new glass addition, providing views to Volunteer Park, a welcoming green space in our increasingly dense city, and long one of Seattle’s favorite Olmsted Parks. The modest addition will create a new gallery and more space for our community to gather around art and culture, enjoy public programs, and host events. It will also improve circulation to meeting rooms, education spaces, library, and auditorium.

http://www.seattleartmuseum.org/inspire

The architect renderings are impressive and the primary issue in moi’s analysis is what this project would do to impact future exhibit. Clearly, the mechanical updates are needed and necessary to upgrade the types of exhibits which come from other museums and collectors worried about the delicate nature of some artifacts. An huge unanswered question is whether more items in the permanent collection will see the light of day.

Dr. Wilda gives a cautious thumbs up to the renovation.

Here is the 2007 Fiscal Note:

Form revised October 26, 2007

FISCAL NOTE FOR CAPITAL PROJECTS ONLY

 

Department: Contact Person/Phone: DOF Analyst/Phone:
Department of Parks and Recreation Kevin Stoops / 684-7053  Jan Oscherwitz / 684-8510

 

Legislation Title:
 AN ORDINANCE related to the Seattle Art Museum, authorizing the execution of an agreement  between the Seattle Department of Parks and Recreation and the Seattle Art Museum, concerning their roles in the planning and design of the restoration of the Seattle Asian Art Museum in Volunteer Park, modifying the City’s obligations under the Construction and Finance Agreement between the said parties for work on public park property associated with Olympic Sculpture Park, and amending the Seattle Department of Parks and Recreation 2007 Adopted Budget, including the 2007-2012 Capital Improvement Program, by modifying appropriations to various budget control levels.

 

Summary and background of the Legislation:

 

This proposed legislation authorizes the Superintendent of the Department of Parks and Recreation to execute an agreement between the City of Seattle (City) and the Seattle Art Museum (SAM) for designing the restoration of the Seattle Asian Art Museum (SAAM) in Volunteer Park.  This agreement allows SAM to serve as the City’s agent in restoration of SAAM through the permitting process.  It also modifies the City’s obligations under the Construction and Finance Agreement between the City and SAM for work on public park property associated with Olympic Sculpture Park (OSP), and transfers appropriations from the OSP Projects to the SAAM Restoration project. 

The City and SAM have had a long-term relationship and operating agreement regarding the museum building in Volunteer Park currently known at the Seattle Asian Art Museum (SAAM). As part of a 1931 agreement authorized by Ordinance 61998, SAM (formerly the Art Institute of Seattle) agreed to provide funds to build and operate the museum and the City agreed to fund utility costs and janitorial services and keep the facility in good repair.  The building was completed in 1933 at a cost of more than $250,000.  Additions were constructed at City and SAM expense in 1947, 1954, 1959, and again in 1969.  The agreement between the City and SAM was most recently amended in 1981 through Ordinance 109767.  In that agreement, the parties agreed to cooperate in assessing the need for capital improvements and in seeking City funding as well as public and private grants for those improvements.  In the last 20 years, the City has spent about $3.2 million on capital repairs and improvements to SAAM.

 

In 2006, SAM commissioned a study by LMN Architects, McKinstry Essention, Inc., and Sellen Construction that recommended replacing SAAM’s original 1933 boiler and related ductwork, adding a chiller plant and humidification and air handling systems to reduce energy costs, and making significant structural improvements to the building to address seismic concerns at an estimated cost of $23.2 million.  The Department of Parks and Recreation (DPR) anticipates hiring a consultant to critique this work with funds provided through the 4th Quarter Supplemental Ordinance.

 

With the approval of this legislation and after completion of DPR’s technical review, SAM will continue design work on mutually agreed upon renovations and act as the City’s agent to secure permits and other regulatory approvals.  Funds from the work will come from a transfer of City money originally pledged to OSP.  SAM has recently been awarded $2 million of additional funds from the Kreielsheimer Remainder Foundation, freeing up City funds for use at SAAM.  The Board of Trustees of SAM has agreed to reduce the amount of City financial obligation for OSP by $2 million, conditioned on the City re-appropriating those funds for exclusive use in planning and pre-construction activities associated with the SAAM restoration project (see Attachment 1 – letter from SAM Board Chair, Jon Shirley).

 

This legislation does not commit the City or SAM to the construction of improvements at SAAM.  These will be negotiated in a future agreement and will be considered in future legislation or as part of a future budget process.

http://clerk.ci.seattle.wa.us/~clerkItems/fnote/116100.htm

Resources:

Seattle Residents Protest Asian Art Museum’s $45 Million Expansion Project                           http://artforum.com/news/id=63170

A brief history of the Seattle Art Museum                                                                                     http://www.seattlepi.com/ae/article/A-brief-history-of-the-Seattle-Art-Museum-1235822.php

Seattle Asian Art Museum Improvements                                                                               http://www.seattle.gov/parks/about-us/current-projects/seattle-asian-art-museum-improvements

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Dr. Wilda Reviews: Chino Aoshima at Seattle Art Museum

7 May

Moi attended the press review for Chino Aoshima: Rebirth of the World at Seattle Art Museum. (SAM) Here are the details:

Chiho Aoshima: Rebirth of the World
May 2 – Oct 4 2015
Asian Art Museum
Tateuchi Galleries

Ms. Aoshima attended the press preview. Moi’s overall impression is a woman who has been seeking solace from a very early age. Here are some excerpts from the material SAM has posted at its site:

Aoshima’s work has undeniably dark images but a positive attitude. There’s no evidence of fear in her art. Her murals, digital prints, and drawings don’t want to escape from society or from the future. Instead, she seems to embrace all possibilities, including a world where the skeletons and ghosts reside alongside the rest of us.
Her work may look like a surreal fantasy. But ask Aoshima, and she’ll tell you she’s showing us the reality that our beautifully chaotic world may be hurtling toward….

Initially, Aoshima created all of her artwork in Adobe Illustrator. Using hundreds of vectors (points, lines, curves, and shapes or polygons that can be scaled), she controls her images with precision. She repeatedly uses the same data for such background elements as trees, and she also spends extensive time making modifications in order to preserve the organic curves of her depictions of nature—such as vines. Within Illustrator, she creates original images for most of the major individual elements of a painting, such as the figures. She then layers in colors….

Unlike other Kaikai Kiki artists, Chiho Aoshima doesn’t have formal training in art. She graduated from the Department of Economics at Hosei University and then went to work for an advertising firm, where a graphic designer taught her how to use Illustrator… http://www.seattleartmuseum.org/exhibitions/chiho

Artspace has a succinct biography of Aoshima.

At SAM, Aoshima remarked about her childhood and the feeling that she got visiting cemeteries as well as the effect of the Shinto faith on her world view. Her current artistic inclination was a rebirth of thwarted artistic inclination of her childhood. Artspace says:

Influenced by anime and manga cartoons, Chiho Aoshima stands apart from her peers through her exploration of the dark currents lying beneath Japanese pop imagery. She presents nature at odds with man, girls at odds with traditional gender roles, and visions of renewal after the apocalypse. She says of her practice: “My work feels like strands of my thoughts that have flown around the universe before coming back to materialize.”

Not formally trained in art, Aoshima graduated from the Department of Economics at Hosei University before going to work for the artist Takashi Murakami, who eventually made her a member of his Kaikai Kiki collective…. http://www.artspace.com/chiho_aoshima

See, Timeline for Aoshima http://www.artnet.com/artists/chiho-aoshima/biography

Moi’s impression is that Aoshima is one of the most technically brilliant pop artists working in the contemporary world. Her technique is crisp, precise and engaging. But, and there is a but that most folk either will not notice or care about if they did notice. The but is the overwhelming sadness of her work, which most will attribute to a bleak future promised by technology. Moi listened to her description of her childhood and the fact that cemeteries offered some solace to a lonely child, who has in moi’s opinion, grown into a woman who has never shaken that childhood sadness.

SAM’s exhibit is divided into three sections:

1. An overview of Aoshima’s work over the past 15 years
2. Digital prints
3. Animated Video

The video has so many levels, one must see it a couple of times to really get clues about nuance and the many different levels of expression. Dr. Wilda recommends Chino Aoshima: Rebirth of the World because of its technical brilliance and the singular world view of Aoshima, which one does not have subscribe to in order to appreciate her authentic, for her, expression.

Resources:

Silenci? – Chino Aoshima – YouTube

A clip from the new animation by Chiho Aoshima, made in collaboration with Bruce Ferguson of Darkroom. The piece will premiere as part of “Chiho Aoshima: Rebirth of the World,” which opens on Saturday May 2 at the Seattle Museum of Art’s Asian Art Museum.
http://www.seattleartmuseum.org/exhibitions/chiho

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Dr. Wilda Reviews: Seattle Art Museum’s Indigenous Beauty

18 Feb

Moi recently attended the press preview of Seattle Art Museum’s (SAM) exhibit Indigenous Beauty. Here are the exhibit details:

Indigenous Beauty
Feb 12 – May 17 2015
Seattle Art Museum
Simonyi Special Exhibition Galleries

SAM describes the exhibit with the headline, “Experience the First Art of North America.” The Native Peoples of North America belong to many cultural groups and lived in the United States, Canada and Mexico. Indigenous Peoples is an attempt to give a flavor of the many cultures by organizing the art according to geographic region. The Native Peoples used the materials and resources that each region provided.

The America Federation of Arts, SAM and other supporters helped bring a sample of the Diker Collection to Seattle, Fort Worth, Atlanta and Toledo. The Diker Collection has been displayed at both the Smithsonian and Metropolitan Museums. Deborah Donovan wrote in a 2009 review of First American Art: The Charles and Valerie Diker Collection of American Indian Art:

The Dikers also have an extensive collection of modern and contemporary art in their home, and it was there that the curators of this exhibit, Native and non-Native scholars alike, came together to discuss the meanings of Native art.

Inspired by the unique juxtapositioning before them of historical Indian art with modern art-an Acoma olla placed on a table beneath two huge Jean Dubuffets and a colorful Calder mobile, for instance-the curators organized their discussion around seven aesthetic principles common to both: idea, emotion, intimacy, movement, integrity, vocabulary, and composition…. https://www.forewordreviews.com/reviews/first-american-art/

Given the breadth of the Native experience in North America, this carefully curated exhibit provides examples of the very best of Native artistry and craft. The artists and that is what they were, whether the genesis of their work arose from an expression of their spirit or just a need to create, demonstrate exceptional workmanship. Keep in mind; the artists used the materials they had available. Each piece in the exhibit tells a story about an aspect of the Native experience. Some of the stories may have been lost in the attempt to force assimilation on some of the cultures, but contemporary Native tribal members are attempting to recover the stories.

Indigenous People is simply stunning and a great education experience for all ages. It is worth traveling to one of the venues to breathe in the exceptional artistic and spiritual experience. Dr. Wilda gives Indigenous People a thumbs up.

Educational Resources:

Bibliography
http://www.seattleartmuseum.org/Bibliographies/Bib_DikerCollection.pdf

Indigenous Beauty Educator Resource List
http://www.seattleartmuseum.org/Documents/Indigenous%20Beauty%20Educator%20Resource%20List.pdf

Explore the regions
Western Arctic / eastern subarctic / northwest coast / great basin & california / southwest / plateau & plains / woodlands & southeast
http://www.seattleartmuseum.org/exhibitions/indigenous

Here is the SAM press release:

Indigenous Beauty
Feb 12 – May 17 2015
Seattle Art Museum
Simonyi Special Exhibition Galleries
Get Tickets
This spring, Seattle has the opportunity to see some of the most stunning works of American Indian art ever made.
Marvel at nearly 2,000 years of amazing skill and invention. Linger over drawings, sculptures, baskets, beaded regalia, and masks.
The immense variety of Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection reflects the diversity of Native cultures. This superb exhibition offers more than great works of art and cultural artifacts—it is an invitation to explore other worlds.
Deeply engaged with cultural traditions and the land, indigenous artists over the centuries have used art to represent and preserve their ways of life. Even during the 19th and 20th centuries, when drastic changes were brought by colonization, artists brilliantly adapted their talents and used the new materials available to them to marvelous effect.
The works in Indigenous Beauty will inspire wonder, curiosity, and delight. Come experience the vast beauty of indigenous art from all across North America.
The guest curator for this exhibition is David Penney. Local curator is Barbara Brotherton, Curator of Native American Art at the Seattle Art Museum.
Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection is organized by the American Federation of Arts. This exhibition was made possible by the generosity of an anonymous donor, the JFM Foundation, and Mrs. Donald M. Cox.

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Dr. Wilda Reviews Seattle Art Museum upcoming 2015 -2016 season: SAM wants to be YOUR museum

16 Nov

Moi joined other media and supporters of Seattle Art Museum (SAM) for a complimentary lunch at the Triple Door which was catered by Wild Ginger. There was an air of anticipation in the crowd about what was next on the SAM agenda. The 2014 season had been very successful with international shows like Peru: Kingdoms of the Sun and the Moon http://seattleartmuseum.org/exhibitions/peru The curator staff at SAM seems to be both imaginative and resourceful. Given the stratospheric prices art is going for at auction, the question is how resourceful and creative could the SAM staff be? The answer which came during the event was the SAM staff was just as resourceful as ever and they are making an attempt to be Seattle’s art museum by appealing to many different segments of the community.

There was the announcement that the Virginia and Bagley Wright Collection gift to SAM’s permanent collection will be on display:

In celebration of this gift, SAM will be featuring highlights of the collection throughout the modern and contemporary galleries beginning in the spring of 2015. In addition, the museum is organizing a major exhibition for the summer of 2016 that will feature abstract works from the Wright Collection as well as works in the SAM collection and other key loans….http://www.seattleartmuseum.org/about-sam/press-room/the-wright-collection-of-modern-and-contemporary-art-comes-to-seattle-art-museum

This gift is the backbone which will enhance exhibits like Pop Departures. http://www.seattleartmuseum.org/exhibitions/pop and City Dwellers which showcases contemporary art from India. http://www.seattleartmuseum.org/Exhibitions/Details?EventId=27436 Future contemporary exhibits have a wonderful platform from which to launch. SAM is blessed with three great venues, SAM Downtown, Olympic Sculpture Park, and the Asian Museum at Volunteer Park. All three venues have some exciting exhibits coming up. Sam Vernon will be at Olympic Sculpture Park from Mar 28 2015 – Mar 6 2016 http://www.seattleartmuseum.org/Exhibitions/Details?EventId=28606

At the Asian Art Museum, there are two exhibits of note in addition to the permanent collection. Live On: Mr.’s Japanese Neo-Pop will be on view from Nov 22 2014 – Apr 5 2015 in Tateuchi Galleries. Japanese artist, Chiho Aoshima will have an exhibit from April 25 – October 4, 2015. http://www.artspace.com/chiho_aoshima

Here are the highlights of the upcoming season:

  1. Native American Art

Indigenous Beauty

Feb 12 – May 17 2015

Seattle Art Museum

Simonyi Special Exhibition Galleries                                                                                                           http://www.seattleartmuseum.org/exhibitions/indigenous

  1. Native Coast Art

Seattle Collects Northwest Coast Native Art

Feb 12 – May 17 2015

Seattle Art Museum

Simonyi Special Exhibition Galleries                                                                                                             http://www.seattleartmuseum.org/Exhibitions/Details?EventId=27983

  1. Global African Art

Disguise: Masks and Global African Art

Jun 18 – Sep 7 2015

Seattle Art Museum

Simonyi Special Exhibition Galleries

http://www.seattleartmuseum.org/exhibitions/disguise

  1. Impressionism

Intimate Impressionism from the National Gallery of Art

Oct 1 2015 – Jan 10 2016

Seattle Art Museum

Simonyi Special Exhibition Galleries                                                                                                                        http://www.seattleartmuseum.org/Exhibitions/Details?EventId=27987

  1. Samuel F.B. Morse

Samuel F.B. Morse’s Gallery of the Louvre

Sep 16 2015 – Jan 10 2016

Seattle Art Museum

Third Floor Galleries                                                                                                                                           http://www.seattleartmuseum.org/Exhibitions/Details?EventId=27988

  1. Kehinde Wiley

Kehinde Wiley: A New Republic

Feb 11 – May 8 2016

Seattle Art Museum

Simonyi Special Exhibition Galleries                                                                                                         http://www.seattleartmuseum.org/Exhibitions/Details?EventId=29707

  1. Seeing Nature

Seeing Nature

Feb 16 – May 21 2017

Seattle Art Museum

Simonyi Special Exhibition Galleries

Co-organized by the Seattle Art Museum, the Portland Art Museum, and the Paul G. Allen Family Collection, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection

http://www.seattleartmuseum.org/Exhibitions/Details?EventId=30737

The headline from the SAM preview is SAM wants to be YOUR museum. The upcoming exhibits have a strong ethnic component and hopefully will draw crowds that don’t necessarily come to SAM. Through loans, guest curators and strong collaboration, SAM is assembling art works which show very good examples of an art theme and there are various themes for the upcoming season. For those who don’t live in Seattle, but who may be planning a trip, you might want to come during an exhibit time.

The 2015 – 2016 and beyond season is definitely a thumbs up.

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Dr. Wilda Reviews Seattle Art Museum’s Pop Departures

12 Oct

Moi usually goes to the press preview of upcoming exhibits at Seattle Art Museum (SAM), but she was unable to attend the press preview for Pop Departures. SAM generously provided moi with tickets to view the exhibit at another time. This was good because moi not only reviewed the exhibit, but got to go on the FREE exhibit tour with other patrons conducted by a SAM staffer. The tour was informative, funny at times because of the I PAD info and double entendres. The tour group was about twenty five to thirty and people seemed to enjoy the tour. Here is information about the exhibit:

Pop Departures

Oct 9 2014 – Jan 11 2015

Seattle Art Museum

Simonyi Special Exhibition Galleries

First, many folk do not think that pop art is art. The Art Story has a very good synopsis of pop art:

Synopsis

Pop art is now most associated with the work of New York artists of the early 1960s such as Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg, but artists who drew on popular imagery were part of an international phenomenon in various cities from the mid-1950s onwards. Following the popularity of the Abstract Expressionists, Pop’s reintroduction of identifiable imagery (drawn from mass media and popular culture) was a major shift for the direction of modernism. The subject matter became far from traditional “high art” themes of morality, mythology, and classic history; rather, Pop artists celebrated commonplace objects and people of everyday life, in this way seeking to elevate popular culture to the level of fine art. Perhaps owing to the incorporation of commercial images, Pop art has become one of the most recognizable styles of modern art.

Key Points

By creating paintings or sculptures of mass culture objects and media stars, the Pop art movement aimed to blur the boundaries between “high” art and “low” culture. The concept that there is no hierarchy of culture and that art may borrow from any source has been one of the most influential characteristics of Pop art.

It could be argued that the Abstract Expressionists searched for trauma in the soul, while Pop artists searched for traces of the same trauma in the mediated world of advertising, cartoons, and popular imagery at large. But it is perhaps more precise to say that Pop artists were the first to recognize that there is no unmediated access to anything, be it the soul, the natural world, or the built environment. Pop artists believed everything is inter-connected, and therefore sought to make those connections literal in their artwork.

Although Pop art encompasses a wide variety of work with very different attitudes and postures, much of it is somewhat emotionally removed. In contrast to the “hot” expression of the gestural abstraction that preceded it, Pop art is generally “coolly” ambivalent. Whether this suggests an acceptance of the popular world or a shocked withdrawal, has been the subject of much debate.

Pop artists seemingly embraced the post-WWII manufacturing and media boom. Some critics have cited the Pop art choice of imagery as an enthusiastic endorsement of the capitalist market and the goods it circulated, while others have noted an element of cultural critique in the Pop artists’ elevation of the everyday to high art: tying the commodity status of the goods represented to the status of the art object itself, emphasizing art’s place as, at base, a commodity.

The majority of Pop artists began their careers in commercial art: Andy Warhol was an highly successful magazine illustrator and graphic designer; Ed Ruscha was also a graphic designer, and James Rosenquist started his career as a billboard painter. Their background in the commercial art world trained them in the visual vocabulary of mass culture as well as the techniques to seamlessly merge the realms of high art and popular culture….                                                                                                                                                     http://www.theartstory.org/movement-pop-art.htm#

References:

How Pop Art plundered consumerist culture

http://www.ft.com/intl/cms/s/2/7d7e2344-3bbd-11e3-9851-00144feab7de.html#axzz3FzFKVNcD

Lead with Interactive®

http://www.popart.com/

Pop-Art Movement

http://www.visual-arts-cork.com/history-of-art/pop-art.htm

Second, one thing struck moi is the role of women and the use of women in the pop art movement. E-flux really summarizes the gender dominance:

The exhibition focuses on three decisive artistic as well as social and economic moments. It opens with key works from the 1960s by artists who first defined our understanding of pop—including Roy Lichtenstein, Andy Warhol, Claes Oldenburg, James Rosenquist, Robert Indiana, Ed Ruscha, and Tom Wesselmann. Their interventions in the very fabric of commercial imagery and consumer goods came in reaction to the buoyant consumer optimism of the post-war period. They prompted an engagement with that media world, its materials and techniques, and they negotiated the status of the artwork within art history and a larger market economy.

The exhibition then considers the criticality towards photography in the 1980s and 1990s, a time when growing deregulation led to changes in the media industry and a merging of advertisement and entertainment. Artists such as Robert Heinecken, Barbara Kruger, Lynn Hershman Leeson, and Richard Prince appropriated commercial images to craft messages that exposed the quiet seduction of the photographic image in establishing norms and shaping identities.

With the shift into a digital era, consumer culture has again undergone profound changes with large volumes of purchases conducted online. The critical approaches by contemporary artists such as Josephine Meckseper, Elad Lassry, and Rachel Harrison focus on the aesthetics of product display. Much of their work is predicated on making the easy consumption of objects strange, and forcing us to look slowly, carefully at a time when our consumption of images seems increasingly accelerated. In this brave new world, the status of the artwork appears more precarious than ever….http://www.e-flux.com/announcements/pop-departures/

The exhibit shows the art of women in the 80s and 2000s. The 60s were about the men with a little help from wives and girlfriends. Women were objects just like a can of Coke.

References:

Where Are the Great Women Pop Artists?

http://www.artnews.com/2010/11/01/where-are-the-great-women-pop-artists/

Pop Art: 8 artists every designer should know

http://www.creativebloq.com/art/pop-art-8133921

Regarding the technique of producing the art – well, it depended upon the artist. Some, like Lichtenstein were precise in his Ben-Day process, others like Warhol who used for example, the blotted-line technique, which was not as precise. Pop art is accessible to many because it harkens to the familiar which is found every day in advertising. Whether pop art is art that an individual likes or a gigantic inside joke really does depend upon the eye of the beholder.

Other reviews:

The Power of Pop Art at Seattle Art Museum’s Pop Departures

http://www.seattlemet.com/arts-and-entertainment/culture-fiend/articles/the-power-of-pop-art-at-seattle-art-museums-pop-departures-october-2014

Pop Departures

http://www.e-flux.com/announcements/pop-departures/

Dr. Wilda gives Pop Departures a thumbs up.

Dr. Wilda also recommends: City Dwellers: Contemporary Art from India

Aug 30 2014 – Feb 16 2015

Seattle Art Museum

Third Floor Galleries

http://www.seattleartmuseum.org/exhibitions/citydwellers

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