EXHIBITION CALENDAR 2016–18

Rachel Eggers Manager of Public Relations rachele@seattleartmuseum.org 206.654.3151 The following information is subject to change. Prior to publication, please confirm dates, titles, and other information with the Seattle Art Museum public relations office.

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SEATTLE ART MUSEUM – NOW ON VIEW

Yves Saint Laurent: The Perfection of Style Seattle Art Museum October 11, 2016–January 8, 2017 "I am no longer concerned with sensation and innovation, but with the perfection of my style." – Yves Saint Laurent Drawn from the archives of the Fondation Pierre Bergé – Yves Saint Laurent and other private collections, this retrospective offers an intimate and comprehensive look at the lifetime achievement of Yves Saint Laurent, one of history’s most influential fashion designers. Featuring important examples of haute couture and ready-to-wear garments—some never shown publicly before—the exhibition reveals Saint Laurent’s artistic genius, his influence on fashion, and the creative process in his atelier.

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 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.

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Big Picture: Art After 1945 Seattle Art Museum July 23, 2016–ongoing Big Picture: Art After 1945 features significant works of abstract painting and sculpture from SAM’s collection. Tracing landmark artistic developments in the decades following World War II, the installation reveals how abstraction established itself as a dominant force to be reckoned with. Big Picture will highlight works from the Virginia and Bagley Wright Collection given to the museum, such as Mark Rothko’s No. 10 (1952), Jasper Johns’ Thermometer (1959), and Eva Hesse’s No Title (1964). It will also feature key loans from other local collections, reflecting the depth and commitment of private collectors in Seattle. Virginia and her husband, Bagley Wright, who passed away in 2011, are longtime visionary leaders and legendary arts patrons of SAM and Seattle. The Wrights have donated extraordinary works to the museum for decades but within the past two years, Virginia Wright gave a large part of her and her husband’s collection to the museum. These works have transformed SAM’s modern and contemporary collection, elevating it to national status. In addition, Big Picture includes select contemporary works that point to the continuity and resonance of these ideas today, such as X (2015)—a painting recently acquired by the museum—by Gwendolyn Knight | Jacob Lawrence Prize-winner Brenna Youngblood. Also on view will be five videos that highlight the physical act and process of painting; the selection includes works by Kazuo Shiraga, Yvonne Rainer, and Margie Livingston—as well as Hans Namuth’s famed work that shows Pollock performing his drip-painting technique. Following the opening on July 23, additional installments are planned for August 20 and then again on November 19. The August installment addresses varying modes of portraiture, while November introduces works by European artists such as Joseph Beuys, Anselm Kiefer and Katharina Fritsch. In subject and materiality, these works are grounded in the post-war European experience and address different concerns from the American works.

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Light and Space Seattle Art Museum August 15, 2015–November 6, 2016 Historically, Los Angeles and New York have had their differences when it comes to artistic legacies. The post-war flourishing of American painting centered largely on New York City where a concentration of artists and critics also shaped the discussion of contemporary art. Working in a different context, a number of artists in and around Los Angeles began experimenting with new ideas and materials focused on color and light in the 1960s. Their sculptures and paintings explored reflective surfaces, translucent materials, prism effects, and color gradations that create subtle and varied optical effects. Concurrently—in New York— a number of artists made serial or modular structures, which were designed to engage the viewer’s perception of space. Donald Judd was one of the New York artists whose work defined the parameters of Minimal Art early on. His serial structures in this gallery make volume and space measurable. Side-by-side, the works of Judd and the West Coast artists reveal surprising affinities in their embrace of light and color. In Marfa, Texas, Judd created an installation of aluminum boxes inside a hangar illuminated by natural light. Our sense of volume and weight shifts dramatically depending on the changing light conditions at that site.

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Go Tell It: Civil Rights Photography Seattle Art Museum April 30, 2016–January 8, 2017 The Civil Rights Movement of the 1960s saw major gains in the struggle to end segregation and discrimination against African Americans, as well as many other marginalized groups, including Native Americans, homosexuals, and women. While landmark pieces of legislation during that decade officially outlawed racial discrimination, the realities of social and institutional inequity continued well past these watershed years—and the "foot soldiers" of the movement continued their efforts to confront them. This exhibition features major works from the collection by artists including Dan Budnik, Danny Lyon, Roy deCarava, Robert Frank, Gary Winogrand, Marion Post Wolcott, and others. Whether capturing the inequalities of Jim Crow-era segregation, documenting keystone moments and leaders of the movement, or exposing the racial injustices that continued long after desegregation, these artists used documentary photography as a tool for activism and to bear witness to the battle for equality. As a contemporary counterpart to these historical works, the exhibition features the work of two artists who examine the racial injustices that persist today, despite the many victories of the Civil Rights Movement. Joseph Norman’s sympathetic portraits of gang members in the 1990s question the continued disenfranchisement of young black men, and Shikeith examines the personal, societal, and emotional obstacles faced by black men today through video.

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African Renaissances Seattle Art Museum May 6, 2016–July 16, 2017 Things Fall Apart may be the title of a famous novel about Nigeria, but it also sums up a mistaken notion that the African continent is afflicted with only bad news. This installation offers a realistic vision by recognizing cultural leaders who preside over kingdoms and live in thriving communities and cities. Regalia and furnishings that were originally seen in the courts of the Benin, Asante, Kom, and Kuba kingdoms are on view. Many of these kingdoms faced extreme domination by colonial powers in the early 20th century but reestablished their own power during the last half of the century. In addition, art created by Maasai, Fulani, and Ndebele women declares their views of the world. Finally, art provided by a musical leader living in Seattle contributes a sense of how things are coming together for a 21st-century futurist renaissance.

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Close Ups Seattle Art Museum August 17, 2016–ongoing The modern portrait serves an increasingly expanding range of purposes. Going far beyond traditional notions of the portrait as an accurate likeness, it has become a portal through which to reflect on contemporary issues and emotions. Artists deploy a wide variety of stylistic and technological means in going beyond appearance to depict more enigmatic features of identities. German artists in the first half of the 20th century used expressive colors and theatrical staging in portraiture to consider the anxieties of war, trauma, and displacement following two devastating world wars. Equally evocative, mid-century American painters fused an expressive painterly language of abstraction with their subjects’ countenance to evoke states of mind to dramatic effect. The pendulum swung in the opposite direction with the arrival of Pop Art in the 1960s. The gleaming surfaces of models and stars enter the canvas and the reproductive technologies used by the film and advertising industries became an important touchstone. Portraits of personal, historical, or allegorical significance have remained a vital outlet of artistic expression throughout time and into the present day. Close Ups provides a view across time and continents to witness developments within portraiture.

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Art and Life Along The Northwest Coast Seattle Art Museum November 26, 2014–ongoing Over their long habitation of the Pacific Northwest, First Peoples have shaped their lifeways around the resources of the water, forests, valleys, and mountains. In tandem, they have developed rich oral traditions and ceremonies that link inextricably to this region. With this installation of SAM’s collection of Northwest Coast art, visitors will encounter the creative expressions of generations of artists who created forms for daily life, for potlatch ceremonies, and for spiritual balance. The presence of contemporary arts, shown alongside historical forms, highlight the vitality of traditions that are being re-envisioned for present times. The installation also includes a new acquisition: twelve masks representing supernatural creatures associated with the Animals Spirits Dance by Gwaysdams carver Sam Johnson. Originally commissioned for the opening celebration of the Pacific Science Center’s Seamonster House in 1971, the masks were transferred to SAM in 2006 and are now on view for the first time. The interpretation and context for the masks are being defined though a collaboration with community members. The colorful, boldly carved masks represent a modern interpretation of the principles of Kwakwaka’wakw art and the dramatic nature of the dance privilege associated with them. The twelve masks—representing mouse, raccoon, deer, wolf and others—and a commissioned button blanket to adorn one of the masks, will be installed in July, 2026, accompanied by a video of the masks being danced in 1971. This display compliments the interactive video component about the history of the houseposts that will be installed in an adjacent gallery.

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Paintings and Drawings of the European Avant-Garde: The Rubinstein Bequest Seattle Art Museum April 23, 2014–ongoing Gladys (1921–2014) and Sam Rubinstein (1917–2007) were driven by a desire “to make things better for Seattle,” as Gladys put it. Their passion for music and art led to generous support of the Seattle Art Museum, the Seattle Symphony, the Seattle Opera, and many other arts organizations in our region. On their travels, they became interested in artists who lived and worked in Paris in the early 20th century. Exquisite examples of paintings and drawings from their collection, including works by Orphist painters Robert and Sonia Delaunay and Surrealists Joan Miró and Max Ernst, are on view in the third floor gallery dedicated to the Rubinstein’s memory. The Rubinsteins’ bequest, which also includes American and Japanese paintings not currently on view, will transform the Seattle Art Museum’s collection and inspire audiences now and in the future.

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France: Inside and Out Seattle Art Museum March 15, 2014–ongoing This installation of landscapes, domestic interiors, and decorative arts from the museum’s collection showcases stylistic developments in 19th-century French painting and design. It also invites us to think about the different worlds of men and women at that time. Beginning in the middle of the century, male artists began to paint outside, capturing intimate landscape views near Paris, scenes of laborers in the fields, and dramatic coastline vistas. The sense of immediacy that permeates those landscapes can also be found when artists turned their attention indoors. Like Vermeer before them, they were fascinated by the unremarkable moments of daily life at home. Images of women, somewhere between formal portrait and genre scene, give a limited picture of female lives toward the end of the century. The two women artists featured in this installation represent the beginning of broader opportunities for women, but even as they developed professional careers their subject matter was limited to family scenes, still lifes, and portraits.

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Pacific Currents & Billabong Dreams Seattle Art Museum March 14, 2014–ongoing

Paddling after swarming sharks

Embracing a totemic crocodile

Dancing with a sea bear hat

And watching a canoe prow cut through waves

All are powerful points of inspiration for the sculptures on view here. The theme of water connects two adjacent installations, Pacific Currents and Billabong Dreams. Waterways in their myriad manifestations—rivers, Australian billabongs, saltwater seas—are not only places for navigation and subsistence. They also contain great ancestral forces that have shaped the lives and laws of indigenous people across the Pacific, as well as the sacred water sources of Australia.

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Porcelain Room Seattle Art Museum May 5, 2007–ongoing Vast quantities of translucent, elegantly decorated white-bodied porcelain from China and Japan, arriving in Europe in the seventeenth and early eighteenth centuries, heightened Europeans’ fervor for these wondrous wares. In royal palaces, great houses of the aristocracy, and homes of the rising merchant class made wealthy by trade, specially designed rooms showcased porcelain from floor to ceiling as crowning jewels in an integrated architectural and decorative scheme. Brimming with more than one thousand magnificent European and Asian pieces from SAM's collection, the Porcelain Room has been conceived to blend visual excitement with an historical concept. Rather than the standard museum installation arranged by nationality, manufactory, and date, our porcelain is grouped by color and theme. Today, when porcelain is everywhere in our daily lives, this room evokes a time when it was a treasured trade commodity—sometimes rivaling the value of gold—that served as a cultural, technological, and artistic interchange between the East and the West.

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SEATTLE ART MUSEUM – COMING SOON

Jennifer West Seattle Art Museum November 19, 2016–May 7, 2017 Jennifer West lives and works in Los Angeles and creates experimental films and installations. At a time when analog film has become largely obsolete, she is buying old film stock and uses everyday household materials from hot water, bleach, vanilla, coffee and vinegar to nail polish and more to paint and erode the film emulsion and create colored splotches, patterns and chance effects. When digitized and re-screened her deconstructive films have the most surprising and beautiful visual effects. Details of her installation for the Seattle Art Museum coming soon.

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Jacob Lawrence: The Migration Series Seattle Art Museum January 21–April 23, 2017 In commemoration of the 100th anniversary of artist Jacob Lawrence’s birth, the Seattle Art Museum presents Jacob Lawrence: The Migration Series. Thanks to a major loan from The Museum of Modern of Art in New York (MoMA) and The Phillips Collection in Washington, DC, all 60 panels from his masterwork The Migration Series—depicting the exodus of African Americans from the rural south between World War I and World War II—will be shown together for the first time in more than two decades on the West Coast. Lawrence conceived of The Migration Series as a single work of art, painting on all 60 panels at the same time to achieve unity of form and color. The complete work appears rather like a large mural painting, an art form that Lawrence admired and that gained new attention in the late 1930s and 1940s, thanks to government sponsorship and the role that public art was given in bringing the US out of the Great Depression. Fittingly, SAM will install the series like a mural in its Gwendolyn Knight | Jacob Lawrence Gallery, which was created to honor their enduring gifts to the city. Both Lawrences were generous supporters of the museum and of the arts throughout this region—an immense legacy that continues to this day.

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John Grade: Middle Fork

Seattle Art Museum February 3, 2017–ongoing

John Grade’s large-scale sculpture, Middle Fork, echoes the contours of a 140-year-old Western Hemlock tree located in the Cascade Mountains east of Seattle. Beginning by making a full plaster cast of the living tree, the artist and a cadre of volunteers used this mold to recreate the tree’s form out of thousands of pieces of reclaimed old-growth cedar. Begun in 2014 and currently 40-feet long, Grade will more than double the length of the work for its installation in the Brotman Forum. Grade’s work is exhibited internationally in museums, galleries, and outdoors in urban spaces and nature. His projects are designed to change over time and often involve collaboration with large groups of people. He lives and works in Seattle.

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Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection Seattle Art Museum February 16–May 23, 2017 Co-organized by the Seattle Art Museum, the Portland Art Museum and the Paul G. Allen Family Collection, Seeing Nature explores the development of landscape painting from a small window on the world to expressions of artists’ experiences with their surroundings on land and sea. The exhibition begins with Jan Brueghel the Younger’s allegorical series of the five senses. These exquisite, highly detailed paintings provide a platform for visitors to explore the exhibition by considering their own experience with the world through sight, touch, smell, sound and taste. The next section of the exhibition demonstrates the power of landscape to locate the viewer in time and place—to record, explore, and understand the natural and man-made world. Artists began to interpret the specifics of a picturesque city, a parcel of land, or dramatic natural phenomena. This collection features a stunning group of evocative Venetian scenes by Canaletto, Édouard Manet, Claude Monet, and J.M.W. Turner, among others. The exhibition also features a rare landscape masterpiece by the Austrian painter Gustav Klimt, Birch Forest of 1903. The final section of the exhibition explores the paintings of European and American artists working in the complexity of the 20th century. In highly individualized ways, artists as diverse as Georgia O’Keeffe, Edward Hopper, David Hockney, Gerhard Richter, and Ed Ruscha bring fresh perspectives to traditional landscape subjects.

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Denzil Hurley Seattle Art Museum May 20–November, 2017 Denzil Hurley was born in Barbados and is Professor in the School of Art at the University of Washington. Hurley is dedicated to abstraction and his work has centered on the tension between formal elements—either a series of elements within a single painting--or the relationships between paintings and their surrounding architecture in a constellation. In earlier works, his paintings showed traces of the artist’s process, layers of additions and subtractions that remained visible in each finished piece. In his exhibition at SAM, we will be featuring his most recent body of work, which introduces entirely new ideas and hovers between painting and sculpture. His monochrome black canvases have been modified with broomsticks, poles and other found objects, some of them reminiscent of protest signs. At times clustered, they become unyielding signs without specific message. Although abstract, they allude to larger social and political events and a culture of protest. If the black monochromes read as abstract signs, his canvases in the shape of frames literally mark a void and create a boundary for the empty space of the wall. Taken together, these works continue a conversation with the history of abstraction—Malevich’s black square is a distant relative. Yet as modified objects mounted on sticks and poles they are no longer static objects but suggest a different history and use and read as metaphors for a culture of protest that unfolds in the streets.

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Yayoi Kusama: Infinity Mirrors Seattle Art Museum June 30–September 10, 2017 Spanning over five decades, Yayoi Kusama: Infinity Mirrors focuses on the evolution of the Japanese artist’s immersive, multi-reflective Infinity Mirror Rooms. The exhibition takes as its point of departure Kusama’s original Infinity Mirror Room—Phalli’s Field, 1965, in which she displayed a vast expanse of red-spotted, white tubers in a room lined with mirrors, creating a jarring illusion of infinite space. The show explores how the interiority of the early infinity nets paintings and the multiplication into a unique world of “self-obliteration” shifts from a strategy of political liberation during the Vietnam War to a shared condition of harmony in the present. Grounded on a kaleidoscopic perception and the transience of reflection and light, the infinity rooms invite the viewer to experience a myriad of dualities, for example utopic/dystopic, private/public, unity/isolation, obsessive/detached, irrational/rational, and life/death. While Kusama’s infinity nets, dot paintings, and sculptures have been widely exhibited, this project will be the first to focus exclusively on the phenomenological impact of the infinity rooms over the scope of her career. Historically inspired by the opto-kinetic work of the Zero group, whose exhibitions Kusama participated in, and working contemporaneously with Allan Kaprow’s environments and happenings in New York, Kusama’s interest in the use of mirrors, electric lights, and kinetics lies both in optics as well as in participatory art practices. By examining the early unsettling installations alongside more recent ethereal atmospheres, the show attempts to historicize this body of work amidst the resurgence of experiential practices within the global landscape of contemporary art.

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Andrew Wyeth: In Retrospect Seattle Art Museum October 19, 2017–January 15, 2018 More information coming soon.

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A Broad and Luminous Picture: Edward S. Curtis and the North American Indian Seattle Art Museum June 14–September 9, 2018 More information coming soon.

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ASIAN ART MUSEUM – NOW ON VIEW

Terratopia: The Chinese Landscape in Painting and Film Asian Art Museum July 2, 2016–February 26, 2017 Majestic landscapes are metaphors for human emotion in Chinese art. They evoke melancholy and disquiet. They express elation or resolve. They record memory and history. Images of the wilderness, pure and pristine, offer a mental refuge and represent real or imagined places with powerful cultural, historical, and religious associations. Some works envision man’s place in the cosmos, depicting sacred mountains as a paradise between heaven and earth. Pictures of villas or garden estates express a desire for reclusion and allow busy viewers to imagine themselves at leisure in the countryside, or to fancy themselves as hermits. Certain individuals who retreated into nature became models of moral integrity. For example, the Seven Worthies of the Bamboo Grove were Daoist philosophers, writers, and musicians of the 3rd century known for their free and rustic lifestyles. Over the centuries, fishermen, woodcutters, and ox herders developed into cultural archetypes, living the closest to nature. These pastoral figures represent nostalgia for an unspoiled landscape and thus an unspoiled society. But paradise and dystopia are two sides of the same coin, and images of mountains and streams, clouds and mists, gardens and rocks, reveal many different layers of meaning. This exhibition juxtaposes classical Chinese works with a modern classic by filmmaker Yang Fudong to demonstrate landscape as an enduring subject of artistic, philosophical, and environmental reflection from the 3rd to the 21st century.

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Awakened Ones: Buddhas of Asia Asian Art Museum March 5, 2016-February 26, 2017 Experience 20 works and artifacts from SAM's collection depicting Buddhas from across Asia, including Japan, China, India, Korea, Nepal, and Pakistan. Sculptures and paintings spanning nearly 13 centuries will be on view. Siddhartha Gautama or Shakyamuni (Sage of the Shakya clan) was a legendary figure from an elite family who lived in northern India around the 6th century BCE. Renouncing his life of privilege, he ultimately awakened to the realization that man could escape the cycle of reincarnation and be freed of suffering. In the first thousand years, Shakyamuni’s teachings spread to Sri Lanka, Southeast Asia, China, Japan, and Korea, and then to the Himalayan regions of Tibet and Nepal. Monks, pilgrims, and believers spread translated scriptures and Buddhist iconography, first traveling overland via the Silk Road and later crossing the oceans. The first art of Buddhism was non-figural symbols and relics of Shakyamuni, before representations of Buddha’s likeness appeared in the form of portable votive icons. The Theravada school, based on earlier teachings of Indian Buddhism, popularized Jataka stories—illustrated episodes from Shakyamuni’s life that recounted his many past lives, sermon scenes, and his birth and extinction (death). In East Asia, Mahayana doctrines of universal salvation gained great prominence—the best known in the West being of Chan or Zen Buddhism—establishing a pantheon of compassionate Buddhas who presided over paradises and bodhisattvas or saintly intercessors who assisted the devout in their quest for salvation. Among the multiple Buddhas were: the future Buddha Maitreya who has yet to come; Amitabha of the western Pure Land; and the cosmic and transcendent Vairochana. Illustrations of narrative scenes and the Buddhist paradises provided resplendent settings to visualize oneself within the Pure Lands. Art representing these Buddhas and their entourages provided a focus for worship, but also promoted the goals of karmic advancement.

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Ai Weiwei: Colored Vases Asian Art Museum April 5, 2014–February 26, 2017 Ai Weiwei is one of China’s most acclaimed contemporary artists and outspoken dissidents. Working in various mediums, from installations and photography to interactive internet programs, Ai uses his work to call attention to critical social issues. Colored Vases, Ai’s first work acquired by the Seattle Art Museum, is a pivotal

piece in his iconoclastic oeuvre. Ai dipped earthenware vases into buckets of industrial paint and then let them drip dry. By covering the surfaces with new paint, what is underneath—like history itself—is “no longer visible, but is still there.” When asked if the vases were truly ancient, Ai seemed surprised that anyone would think otherwise. Widely traded for centuries, Chinese ceramics and silk “left the outside world incapable of resistance,” according to Ai. The fundamental irony—always a subtext of Ai’s ceramic works—is that they slyly play on the question of authenticity, an aspect which features prominently in today’s market for Chinese art.

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ASIAN ART MUSEUM – COMING SOON

Tabaimo: Utsutsushi Utsushi Asian Art Museum November 11, 2016–February 26, 2017 Tabaimo (born 1975) is a globally acclaimed Japanese artist known for her immersive and thought-provoking video installations. Combining hand-drawn images that evoke traditional Japanese woodblock prints (ukiyo-e) with digital manipulation, Tabaimo’s animated installations offer a critical and complex view of contemporary Japanese society. This is the first major exhibition curated by Tabaimo. Organized around the concept of utsushi, which refers to the emulation of a master artist’s work as a way to understand their technique, the exhibition presents Tabaimo’s existing and new works, as well as important historic works from SAM’s Asian art collection. Tabaimo selected these historic works for their close connections with her art. Whether it be something engrained in her artistic DNA or a piece she has quoted in her work simply because it’s interesting or beautiful, visitors can expect to see intuitive juxtapositions between the contemporary and the collection. For instance, SAM’s much-beloved 17th-century Crows screens with

Tabaimo’s new video work that also takes the crow as its subject.

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OLYMPIC SCULPTURE PARK – NOW ON VIEW

Victoria Haven: Blue Sun Olympic Sculpture Park April 2, 2016–March 5, 2017 Seattle native Victoria Haven’s process could be described as a form of mapping. Her abstract drawings, prints, and videos are markers of time and place that connect us—by way of association—to history and lived experiences. Haven's dramatic wall drawing Blue Sun is inspired by a recent video project where the artist filmed the radical transformation of South Lake Union from her studio window, over a ten-month period. At certain times during the year, the camera recorded unusual optical effects that made the sun appear as a blue dot. These were not natural phenomena that a viewer could see when looking at the landscape—they were effects created by the optical apparatus, resulting from the light reflected on the camera lens. As the arc of the sun progressed from winter into spring and summer, other patterns emerged from the reflections of the sun on nearby buildings in the city, creating an imaginary geography. These observations form the basis for the design of the wall drawing, which consists of a cluster of bold crystalline forms that traverse the entire length of the east wall of the Olympic Sculpture Park's PACCAR Pavilion. The forms register as sculptural structure, creating a dynamic dialogue with other sculptures at the park.

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Echo Olympic Sculpture Park May 29, 2014–ongoing

Jaume Plensa is renowned for his monumental and psychologically engaging public art. His sculpture Echo is named for the mountain nymph of Greek mythology who

offended the goddess Hera—she kept her engaged in conversation and prevented her from spying on one of Zeus’ amours. To punish Echo, Hera deprived the nymph of speech, except for the ability to repeat the last words spoken by another. Plensa created this monumental head of Echo with her eyes closed, seemingly listening or in a state of meditation. The work is situated on the shoreline of the park, where Echo looks out over Puget Sound in the direction of Mount Olympus.

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OLYMPIC SCULPTURE PARK – COMING SOON

Spencer Finch Olympic Sculpture Park Opening Spring 2017 More information coming soon.

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Image credits: Yves Saint Laurent, Cocktail dress. Homage to Piet Mondrian. Fall-Winter 1965 haute couture collection. ©Fondation Pierre Bergé – Yves Saint Laurent, Paris / Alexandre Guirkinger. Installation view of Big Picture: Art After 1945 at the Seattle Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. Installation view of Light and Space at the Seattle Art Museum. © Seattle Art Museum, Photo: Mark Woods. Installation view of Go Tell It: Civil Rights Photography at the Seattle Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. Installation view of African Renaissances at the Seattle Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. The Pompeii Clowns, 1950, Max Beckmann, German, 1884–

1950, oil on canvas, 36 x 55 in., Gift of Sidney and Anne Gerber, 55.74, © Artist or Artist’s Estate. Installation view of Art and Life Along the Northwest Coast at the Seattle Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. Mondlicht, 1925, Alexei von Jawlensky,

Russian, 1864–1941, oil on canvasboard, 16 1/2 x 12 3/4 in., Seattle Art Museum, Gift of Gladys and Sam Rubinstein. Photo: Nathaniel Willson. Fishing Boats at Étretat, 1885, Claude Monet, French, 1840-1926, oil on canvas, 29 x 36 in., Seattle Art Museum, Partial and promised gift of an anonymous donor, 92.88. Installation view of Pacific Currents & Billabong Dreams at the

Seattle Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. Installation view of Porcelain Room at the Seattle Art Museum. © Seattle Art Museum, Photo: Lara Swimmer. Exploded Film Quilt, 2015, Jennifer West, American, 70mm filmstrips treated with dye,

bleach, oysters, vanilla, Plexiglas, thread, 96 x 42 1/8 inches. ©Jennifer West, image courtesy of the artist. The Migration Series, Panel no. 3: From every southern town migrants left by the hundreds to travel north, between 1940 and 1941, Jacob Lawrence, American, 1917–2000,

casein tempera on hardboard 12 x 18 in., Acquired 1942, The Phillips Collection, Washington, D.C. © 2016 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Middle Fork, 2016, John Grade, American, b. 1970, wood, 30 x 28 x

105t., Collection of the artist. Birch Forest, 1903, Gustav Klimt, oil on canvas, 43 ¼ x 43 ¼ in.

Paul G. Allen Family Collection. Installation view of the artist’s studio. © Denzil Hurley, Photo: Catharina Manchanda. Installation view of Infinity Mirror Room–Phalli’s Field at Castellane Gallery, 1965 ©Yayoi Kusama. Braids, 1979, Andrew Wyeth, American, 1917–2009, tempera on

panel, 16 1/2 x 20 1/2 in., Private Collection. An Oasis in the Badlands – Sioux, 1905. Hooded cape, 19th century, Japanese, Wool cloth, silk cloth, leather, and gold gilt, 40 3/4 x 31 3/4 in., Gift of the Christensen Fund, 2001.422. The Orchid Pavilion Gathering, Chen Fu, Chinese, 1732, color added 1739, ink and color on paper, 13 1/4 x 25 7/8 in. Eugene Fuller Memorial Collection, 52.138. The Seven Intellectuals in a Bamboo Forest, Part 1, 2003, Yang Fudong, Chinese, b. 1971, 35 mm black and white film, 29 min., 32 sec. Courtesy of ShanghART Gallery, China. Installation view of Awakened Ones: Buddhas of Asia at the Asian Art Museum. © Seattle Art Museum, Photo: Natali Wiseman. Colored Vases, 2010, Ai Weiwei, Chinese, b. 1957,

ceramic with industrial paint, dimensions variable; (approx. 17 x 22 in. each), Seattle Art Museum, Purchased with funds from the Estate of Robert M. Shields, 2013.33. © Ai Weiwei, Photo by Nathaniel Willson. © Tabaimo / courtesy of Gallery Koyanagi and James Cohan Gallery. Installation view of Blue Sun, 2016, Victoria Haven, American, b. 1964, acrylic, 57 x 14 ft., Seattle Art Museum, 2016 Commission, Photo: Natali Wiseman. Echo, 2011, Jaume Plensa, Spanish, born 1955, Polyester resin, marble dust, steel framework, height 45 ft.11 in., footprint at base 10 ft. 8 in. x 7 ft. 1 in., Seattle Art Museum, Barney A. Ebsworth Collection, 2013.22, ©Jaume Plensa, Photo: Benjamin Benschneider. Spencer Finch: Installation detail of Following Nature, 2013, at the Indianapolis Museum of Art, Spencer Finch, American, born 1962. ©Spencer Finch, image courtesy of the artist.

ABOUT SEATTLE ART MUSEUM As the leading visual art institution in the Pacific Northwest, SAM draws on its global collections, powerful exhibitions, and dynamic programs to provide unique educational resources benefiting the Seattle region, the Pacific Northwest, and beyond. SAM was founded in 1933 with a focus on Asian art. By the late 1980s the museum had outgrown its original home, and in 1991 a new 155,000-square-foot downtown building, designed by Robert Venturi, Scott Brown & Associates, opened to the public. The 1933 building was renovated and reopened as the Asian Art Museum in 1994. SAM’s desire to further serve its community was realized in 2007 with the opening of two stunning new facilities: the nine-acre Olympic Sculpture Park (designed by Weiss/Manfredi Architects)—a “museum without walls,” free and open to all—and the Allied Works Architecture designed 118,000-square-foot expansion of its main, downtown location, including 232,000 square feet of additional space built for future expansion. From a strong foundation of Asian art to noteworthy collections of African and Oceanic art, Northwest Coast Native American art, European and American art, and modern and contemporary art, the strength of SAM’s collection of approximately 25,000 objects li305es in its diversity of media, cultures and time periods.