2015-17 EXHIBITION CALENDAR

SEATTLE ART MUSEUM ASIAN ART MUSEUM OLYMPIC SCULPTURE PARK

The following exhibition information is subject to change. Prior to publication, please confirm dates, titles and other information with the Seattle Art Museum Public Relations office at [email protected] or 206-654-3151. CURRENT EXHIBITIONS SEATTLE ART MUSEUM

Intimate Impressionism from the National Gallery of Art Seattle Art Museum October 1, 2015 – January 10, 2016 Intimate Impressionism features the captivating work of 19th-century painters such as Claude Monet, Pierre-Auguste Renoir, Paul Cézanne, Edgar Degas and Vincent van Gogh. The exhibition includes 68 paintings from the National Gallery of Art in Washington, D.C., and features a selection of intimately scaled Impressionist and Post-Impressionist still lifes, portraits and landscapes, whose charm and fluency invite close scrutiny. Seattle is the last opportunity to view this exhibition following an international tour that included Ara Pacis Museum of the Capitoline Museums, Rome; Fine Arts Museums in San Francisco; McNay Art Museum, San Antonio, and Mitsubishi Ichigokan Museum, Tokyo. The temporary closure of the National Gallery’s East Building for major renovation and expansion has made possible the rare opportunity to see this select group of paintings in Seattle. The majority of works come from the celebrated Ailsa Mellon Bruce Collection, given to the National Gallery of Art in 1970. This core group is bolstered by works from the Mr. and Mrs. Paul Mellon Collection and gifts of several other important collectors.

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Samuel F. B. Morse's "Gallery of the Louvre" and the Art of Invention Seattle Art Museum September 16, 2015 – January 10, 2016 Samuel F. B. Morse (1791-1872) is primarily known for his invention of the electromagnetic telegraph but he began his career as a painter and rose to the Presidency of the National Academy of Design in New York. The six-by-ninefoot monumental Gallery of the Louvre is his masterwork. The painting will be shown by itself in an expansive gallery at the Seattle Art Museum as the kind of grand picture public display that Morse himself would have created in 1833. The painting depicts masterpieces from the Louvre's collection that Morse "reinstalled" in one of that museum's grandest galleries, the Salon Carré. He also envisioned the space as a workshop where individuals study, sketch, and copy from his imagined assemblage of the Louvre's finest works, including paintings by Leonardo da Vinci, Titian, Veronese, Caravaggio, Rubens, Van Dyck, and Watteau. Morse depicted himself in front, leaning over his daughter as she sketches, and included friend and author James Fenimore Cooper at left with his wife and daughter. The Gallery of the Louvre was exhibited just twice in the United States. The painting was praised by critics, but rejected by the public who had no knowledge of European art and saw little dramatic appeal n Morse’s instructional subject. Morse abandoned painting altogether in 1837. By then his other interests had consumed him. He had made successful experiments with the telegraph and would develop the Morse code. In 1839, he would introduce the art and science of photography to America. The installation includes a group of American daguerreotypes to show the beauty of the new art form that so captivated Morse and to suggest, too, the kinship of these early photographs to Morse’s efforts at exact reproduction of paintings in miniature.

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Brenna Youngblood Seattle Art Museum November 13, 2015-June 12, 2016 Brenna Youngblood, winner of the 2015 Gwendolyn Knight | Jacob Lawrence Prize, explores the iconography of public and private suburban experience, issues of identity, ethics, and representation, and the politics of abstraction using photo-based collage, painting, assemblage, and sculpture. Trained as a photographer, Youngblood’s early work—layered photomontages drawn from her everyday life—incorporated images of her family and friends, storefronts, police cars, and snapshots of domestic objects, such as bare light bulbs, cheap wood veneer, TVs, and aging upholstery. Now, concerned with the formal qualities of imagery and objects, she integrates found objects and materials into her painterly compositions, and has sometimes examined more political subject matter. Her work is often considered in the context of West Coast assemblage artists such as Noah Purifoy, John Outterbridge, and Betye Saar. Youngblood’s first book and monograph, Brenna Youngblood: The Mathematics of Individual Achievement, published in 2013 by MISPRINT Press, traces the artist’s investigations with photography, collage, painting, and sculpture. Inspired by one of Youngblood’s schoolbooks, the monograph is organized as a series of lessons that provide critical context for Youngblood’s expansive work.

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Kehinde Wiley: A New Republic Seattle Art Museum February 11, 2016-May 8, 2016 Kehinde Wiley: A New Republic will present an overview of the artist's rich and prolific 14 year career. Composed of approximately 60 works, the exhibition will feature his signature figurative canvases of African American men, inspired by Wiley's observation of street life in Harlem and his focused exploration of the male figure. The exhibition will also include a selection from his ongoing World Stage project, which he initiated in 2006 by establishing a satellite studio in Beijing. A New Republic will include four enormous canvases of reclining male figures from the "Down" series (2008) plus four bronze male portrait busts, a largescale marble of four female busts called Bound (2014), and a chapel-like structure that showcases Wiley's new stained glass "paintings." Wiley’s highly stylized and staged portraits draw attention to the dialectic between a history of aristocratic representation and the portrait as a statement of power and the individual’s sense of empowerment. The artist began his first series of portraits in the early 2000s during a residency at the Studio Museum in Harlem. He set out to photograph and recast assertive and self-empowered young men from the neighborhood in in the style and manner of traditional history painting. Since then he has also painted rap and sports stars but for the most part his attention has focused on ordinary men of color in their everyday clothes. Trained at Yale in the 1990s, Wiley was steeped in the discussions concerning identity politics during this decade and he brings his personal insights and theoretical studies to his practice. The exhibition is organized by the Brooklyn Museum.

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Graphic Masters: Dürer, Goya, Rembrandt, Picasso, Matisse, R. Crumb Seattle Art Museum June 9-September 5, 2016 Graphic Masters features groundbreaking and timeless artists who worked in the medium of printmaking over its 600-year history. This exhibition is organized by the Seattle Art Museum (SAM) and includes approximately 400 objects. Albrecht Dürer, Francisco Goya, and Pablo Picasso were among the artists who considered printmaking a primary form of expression and experimentation. Dürer’s ambitious Large Woodcut Passion (1497/1510) was one of the first projects to emancipate printmaking from book production and create a market for a new level of collector. Goya’s renowned Caprichos (1799) combined word and image to satirize injustices and corruption in 18th-century Spanish society. Later, in the Vollard Suite (1930-37) Picasso exploited the versatility of the etching medium to create extensive variations on the theme of artist and model. Visitors can explore other milestone print series including William Hogarth’s The Harlot’s Progress (1733) and The Rake’s Progress (1735) and Jazz (1947) by Henri Matisse, as well as other print masterpieces. The final works in this important collection are drawings for The Book of Genesis by celebrated graphic artist R. Crumb (2009). This ambitious contemporary take on the historical tradition of printed book illustrations offers a fresh and original reading of well-known stories.

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Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection Seattle Art Museum February 16, 2017-May 21, 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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CURRENT EXHIBITIONS SAM’S ASIAN ART MUSEUM

Chiho Aoshima: Rebirth of the World Asian Art Museum Through October 4, 2015 Rebirth of the World features colorful large-scale dreamscapes printed on plexiglass, 35 drawings on paper, and an animation shown in public for the first time. The exhibition is the debut of Aoshima’s second foray into video work. She has teamed up with New Zealand animator Bruce Ferguson to animate her drawings into a living, moving world. Their first collaboration, in 2005 was titled City Glow and was met with critical acclaim. This video is titled Takaamanohara, which has great personal meaning for Aoshima. Takaamanohara (“the plain of high heaven”) is a place where Japanese Shinto deities reside. A Shinto myth explains that at the time of creation, light, pure elements branched off to become heaven; while heavy, turbid elements branched off to become earth. Heaven (ama) became the home of the gods of heaven, while earth became the home of gods of the land. Not formally trained in art, Aoshima graduated from the Department of Economics at Hosei University before going to work for the Japanese Neo-Pop artist Takashi Murakami, who eventually made her a member of his Kaikai Kiki collective. When asked about her inspiration, Aoshima answered, “The evolution of human civilization is great; humankind thinks nature precious, but it is difficult for humankind and nature to coexist. I represented these two souls that cannot understand each other through the images of buildings and mountains.”

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Calligraphic Abstraction Asian Art Museum Through Oct 4 2015 Nearly a thousand years of the history of calligraphy—from the 11th century to the present day—can be experienced in this exhibition. In East Asia, calligraphy has long been treasured as a form of art. Even without knowing the meaning of the words, calligraphy continues to be admired for its beauty—the compositional structure and flow of lines. With representative works ranging from Islamic to archaic Chinese style, to contemporary artist Xu Bing’s invented writing system, and the Pacific Northwest artist Mark Tobey’s calligraphy-inspired work, the first group introduces an overview, conveying that calligraphy can be appreciated as abstract art across cultures. The striking juxtaposition of two primary categories of Japanese calligraphy— kana and kanji—is featured in the second and third groups. The elegance of kana calligraphy often lies in its line, flow, and rhythm; whereas kanji calligraphy, akin to its Chinese counterpart, emphasizes the overall composition in addition to each individual line.

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UPCOMING EXHIBITIONS SAM’S ASIAN ART MUSEUM

Paradox of Place: Korean Contemporary Art Asian Art Museum October 31, 2015-March 13, 2016 This will be the first major exhibition of Korean contemporary art in Seattle in the recent decade. In collaboration with Ms. Choi Eunju, chief curator of the National Museum of Modern and Contemporary Art Korea, and the first inresidence visiting curator sponsored by the Andrew W. Mellon Foundation at the Seattle Art Museum, SAM will present six leading-edge Korean contemporary artists’ representative works in this exhibition. These works range from mix-media installation, video art, to photography, all of which are prominent forms in Korean contemporary art. Each work in its own way addresses an important, often poignant, issue, and yet, as a group, all the works address paradoxes in Korean art and society.

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CURRENT EXHIBITIONS OLYMPIC SCULPTURE PARK

Sam Vernon: How Ghosts Sleep Through March 6, 2016 Olympic Sculpture Park PACCAR Pavilion Using stark black and white graphics to hint at hidden worlds and mystical experiences Sam Vernon: How Ghosts Sleep (Seattle) creates an immersive environment for visitors to the Olympic Sculpture Park’s (OSP) PACCAR Pavilion. As a prelude to Disguise: Masks and Global African Art, Vernon also designed the entryway for the exhibition at the downtown location, emphasizing the connection between the two facilities. Vernon’s installation includes a massive hexagonal grid that covers the interior of the pavilion. Fabric canopies hover overhead offering a shimmering view of more of this black and white kaleidoscope of hidden characters who emerge and then disappear into the walls and ceiling. Vernon has digitally combined photocopied drawings of ghost characters with a hand-drawn/collaged pattern of disembodied figures so that the ghosts are no longer visible—they’re masked.

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Dan Webb: Break it Down June 25-August 31, 2015 Olympic Sculpture Park Break it Down explores the concepts of time, change, entropy, and the process of art making. A self-trained carver, Webb is interested in wood as a medium that was once alive and the process of carving as a reductive exercise— whittling an object out of a larger piece of material. Working on-site over the course of the summer in a studio “shack” built by the artist, Webb whittles a second life for one of the Olympic Sculpture Park’s own Douglas fir trees, which is slated to be felled by the park’s gardeners. The various objects that Webb carves from the tree will in turn become, as the artist describes, "the raw materials for yet more things, until the wood itself has been exhausted, and only sawdust is left." The tree’s seeds will finally be replanted into this mulch, growing in the park as a living record of the project. Image credits: Madame Monet and Her Son, 1874, Pierre-Auguste Renoir, French, 18411919, oil on canvas, 19 13/16 x 26 3/4 in., National Gallery of Art, Ailsa Mellon Bruce Collection. Gallery of the Louvre, 1831-33, Samuel F. B. Morse, American, 1791-1872, oil on canvas, 70 3/4 x 108 in., Terra Foundation for American Art, Daniel J. Terra Collection. Buffalo Burger, 2012, Brenna Youngblood b. 1979. Kehinde Wiley (American, b. 1977). Shantavia Beale II, 2012. Oil onShantavia Beale II, 2012, Kehinde Wiley, American, b. 1977, oil on canvas, 60 x 48 in., Collection of Ana and Lenny Gravier. Courtesy Sean Kelly, New York, © Kehinde Wiley, Photo: Jason Wyche. View in Venice-The Grand Canal, 1874. Edouard Manet. Oil on canvas, 22 9/16 x 18 3/4 inches. City Glow, 2005, Chiho Aoshima, Japanese, b. 1974, chromogenic print, 66 15/16 × 66 15/16 in., Courtesy Blum & Poe, Los Angeles/Galerie Perrotin, © 2005 Chiho Aoshima/Kaikai Kiki Co., Ltd. All Rights Reserved. Hanging scroll: ink on paper, 17 1/4 x 19 11/16in. (43.8 x 50cm), Purchased with funds from Asian Art Acquisition Fund, 2003.115, © Man-jin Son. Untitled, 2014, LEE BUL, crystal, glass and acrylic beads, mirrors, stainless-steel, aluminum and black, nickel rods, steel and bronze chains, stainless-steel and aluminum armature 78.74 x 74.8 x 59.06 inches, 200 x 190 x 150 cm. How Ghosts Sleep (Seattle): Hive, 2014, Sam Vernon, American, b. 1987, digital collage, wallpaper, Seattle Art Museum, Commission, 2015. © Sam Vernon, graphic design: Loide Marwanga. Photo: Natali Wiseman. Destroyer (detail), 2012, Dan Webb, carved fir, 99 x 35 x 23 in., Private Collection, © Dan Webb. 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. 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-

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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 more than 25,000 objects lies in its diversity of media, cultures and time periods.