Chihuly Garden & Glass

Enter the intricate, fragile world of Dale Chihuly – or, to be fair, the world of a small army of designers, glassblowers, sculptors and assemblers, working under the ”Chihuly” umbrella. Let’s take a moment to appreciate and recognize their work, even if we will never see their names in the credits.

It wasn’t the first time I saw a large ”Chihuli” exhibition, such as this. In October 2017, I had the chance to enjoy this immense work of glass making, in a truly magical setting: the New York Botanical Garden, in the Bronx. The gardens remained open in the evening and the sculptures, scattered all over the gardens and conservatory, were illuminated. The result was spectacular. There are several posts about that exhibition, the most popular being Into the Night”.

Seattle, WA

June 15th, 2018

 

The way we hammer art

without a nail

Jonathan Borofsky’s Hammering Man was installed right in front of the Seattle Art Museum, in 1991. Hammering Man is a series of monumental sculptures situated in different cities and was created in honour of the working class women and men of the world.


Daedalus/Upliftment, 2016
Acrylic, gold leaf, spray paint on canvas
Fahamu Pecou


Double Elvis, 1963/1976
Silkscreen in, synthetic polymer paint on canvas
Andy Warhol


Caterpillar Suit 1, 2007
Anodized brass wire
Walter Oltmann


Untitled, 1982
Acrylic, spray paint and oil stick on canvas
Jean-Michel Basquiat


Warhol/Basquiat, NYC August 1986
wowe (Wolfgang Wesener)


Birdcage
Wood, metal, ivoyr
Late Qing dynasty (1644-1991) or Republican period (1850-1920)


Leda and the Swan, probably after 1915 and before 1923
Oil on canvas
John Covert


Morning, probably 1933
Oil on burlap
Morris Graves

Morning is a deeply affecting image of retreat, of the pain of facing the light, of the fear of facing the day.


Catfish clan figure, 19th-20th century
Wood, polycrhome
Melanesian, Papua New Guinea, Guam River Region, probably Breri or Igana people


Seattle Art Museum

June 15th, 2018

The way we disappear

Blending in / Standing out

1/ Three Beauties: Kayo of Kyoto, Hitotsuru of Osaka, Kokichi of Tokyo, 1877
Woodblock print, ink and colour with metallic pigments
Kobayashi Kiyochika, 1847-1915
Meiji period, 1868-1912

There is a poem card above on the right, decorated with gold flakes, and inscribed with a haiku, which reads:

Oh to see moon and snow together
In the mountain of cherry blossoms

Works by Australian Aboriginal Artists: photos 2/ to 5/

2/Untitled, 1997
Synthetic polymer paint on canvas
Yala Yala Gibon Tjungurrayi

3/Untitled: Munglipa, 2014
Synthetic polymer paint on canvas
George Tjungurrayi

4/Swamps West of Nyirripi, 2006
Synthetic polymer paint on canvas
Ngoia Napaltjarri Polland

5/Yuparli (Bush Banana), 1993
Synthetic polymer paint on canvas
Dorothy Napangardi

6/- end
Project 42: Jono Vaughan 
Seattle -based artist Jono Vaughan’s series Project 42 addresses the pattern of violence against transgender people in the United States, providing both a form of memorialization and an entry point for engagement and discussion. Begun in 2012, the project’s name is taken from the short life expectancy of transgender individuals in the United States, which the artist estimates is forty-two years, based—in lieu of official census data, which excludes trans identities—on third-party texts and research. Eventually the artist plans to make forty-two individual works.

Each of the three dresses in this exhibition memorializes the life and death of a transgender person who was murdered: Myra Ical, Deja Jones, and Lorena Escalera Xtravaganza. Vaughan alters images of the murder locations and turns them into abstract textile prints, which she then sews into a garment. The style of the garment is inspired by the life and history of the individuals. A collaborator wears each dress in a performance that commemorates and celebrates the individual, an act that Vaughan describes as “the returning of humanity and the sharing of missed opportunities.”

Seattle Art Museum

June 15th, 2018

The way we are

Our masks, our layers, our foolishness, our empathy, our togetherness.
The way we communicate, our body language, how we look at ourselves, at each other.
The way we love, we live, we exist. The way we are. Humanity.

Njenje (Walkabout) 

Njenje is a parade that involves virtually an entire village’s population. It opens the first day of a Dry Season Festival, a time Afikpo say is ”our Christmas”, when rich meals, visits and ceremonies prevail. Men create elaborate appearances by borrowing cloth and jewelry from sisters, wives, lovers and friends who eagerly await the parade. Secrecy from women and uninitiated men is strictly enforced throughout the dressing process. This adds to the suspense of the audience who watch players stroll through the village as masked unmarried girls, as Europeans, as Muslims and children. How well they imitate feminine guile in their stride and costume – or suggest a schoolteacher, minister, lawyer or office clerk – is a test of the persuasive skills of the men who put the parade together.

For details about the different masks please check this page.

The weird figures made of piles of fabric, hair, beads and sweaters are Soundsuits, 2006, by Nick Cave

The last round gloomy mask is a female Goli mask of Kplekple, 20th century, from Ivory Coast, Africa.

Seattle Art Museum

June 15th, 2018

Roundup

An Ooh Oaah…! moment

Art: 

The First People, 2008
Red and yellow cedar
Susan Point

Drum with skull painting, 1991
Animal hide, acrylic, wood, bone
Susan Point

Mirror rack
Lacquer, bronze and cord
Japanese, 18th century
Edo period, 1603-1868

Seated figure, ca. 600-800
Ceramic and resin
Mexican, Veracruz

Crocodile headdress
Wood, skin, basketry
Nigerian/Cameroonian, Cross River, Ejagham

Seattle Art Museum

June 15th, 2018

 

Excelsior! Marvel Universe @ MoPOP || SEAttle

Scarlet Witch #1
David Aja, 2016


Daredevil #188, cover
Frank Miller (pencils), Klaus Janson (inks), 1982


Giant-size X-Men #1, cover
Gil Kane and Dave Cockrum (pencils) and Dave Cockrum (inks), 1975
This rare piece of original art shows the first appearance of the ”new” X-Men literally bursting through an image of the old team.


New X-Men, in-house advertising art
By Dave Cockrum, 1978


The Uncanny X-Men #136, cover
John Byrne (pencils) and Terry Austin (inks), 1980


Wolverine #1, cover
Frank Miller (pencils), Joe Rubinstein (inks), 1982


New Mutants, poster
Art by Bill Sienkiewicz, 1984
Mixed media


Matt Murdock’s cane & glasses as used by Charlie Cox in ”Daredevil” and ”The Defenders” (2015-2017)


Daredevil #69, cover
Art by Alex Maleev, 1998


Daredevil #181, cover
Frank Miller (pencils), Klaus Janson (inks), 1982


Tony Isabella and Arvell Jones created Mercedes Kelly Knight in 1975 for the ”Iron Fist” series. A former NYPD cop, Misty had a mechanical arm (courtesy of Tony Stark), a striking Afro hairstyle (courtesy of Angela Davis) and a tough, sexy attitude (courtesy of the popular so-called Blacksploitation movies that also inspired Luke Cage). As a super-powered woman of colour, Misty was instantly ground-breaking; what’s more, in 1977, Misty and Iron Fist shared what may have been the first interracial kiss in a Super hero comic.


I am Groot, I am Groot, I am Groot, I am Groot (trnsl: Groot as seen in ”Guardians of the Galaxy” (2014)


Museum of Pop Culture

June 13th, 2018