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Upcoming Exhibitions


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Mirage 24, 2018, Adrienne Elise Tarver

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The Arrival of The Boat People, 2020, Tuan Andrew Nguyen


CAUSE A RIPPLE​​​​​​

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Gente Rio: We River, 2016, Carolina Caycedo


We think of Seattle as surrounded by water, but the Duwamish is the city’s only river. . . The river underwent devastating transformations with engineering projects and industrial development. [Engineering projects, industrial development], and the desecration of the water by industrial pollution has changed the relationship of the People to the river.

KEN WORKMAN


FLOOD THE SENSES


Swimming might be the closest to flying a human being can get. There is something about your body displacing water in order to propel through space that makes you feel Godtouched. That makes me understand evolution, that we really must have crawled up from the sea. . .

Elisabeth Acevedo

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Awa Province, Naruto Whirlpools, 1855, Utagawa Hiroshige


DIVE DEEP

Sea Bear

SEA BEAR, 1990, SHERRY MARKOVITZ

Water is life sustaining. It is everything. Water mirrors emotion—sometimes calm, sometimes raging, always present. Water quiets my mind and opens my eyes to beauty

Sherry Markovitz


TURN THE TIDE

Something about the scale and danger of the [climate] crisis still seems to challenge human psychology. . . our own habits of mind are something we must overcome.


Rebecca Solnit

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Desecration #2, 2017, John Feodorov





Images: Mirage 24, 2018, Adrienne Elise Tarver, ink on paper, 5 ½ x 4 in., Josef Vascovitz and Lisa Goodman © Adrienne Elise Tarver. The Arrival of The Boat People, 2020, Tuan Andrew Nguyen, pigment print on Hahnemuhle paper, 27 x 48 in., © Tuan Andrew Nguyen 2021, Courtesy the artist and James Cohan, New York. A Gente Rio: We River (video still), 2016, Carolina Caycedo, single-channel HD video (sound and color), 29:29 min., Commissioned by the 32 Bienal de São Paulo - Incerteza Viva, courtesy the artist. Awa Province, Naruto Whirlpools, 1855, Utagawa Hiroshige, Japanese, 1797–1858, woodblock print: ink and color on paper, Gift of Mary and Allan Kollar, in honor of the 75th Anniversary of the Seattle Art Museum, 2017.23.20. Sea Bear, 1990, Sherry Markovitz, wood, beads, shells, fabric, paint, papier mâché, 25 x 17 x 29 in., Gift of Terry Hunziker, 90.3, © Sherry Markovitz.Desecration #2, 2017, John Feodorov, acrylic, graphite, and conté on wool rug, 50 1/4 x 44 1/4 in., Ancient and Native American Art Acquisition Fund, 2020.2.2, © John Feodorov.


Seattle Art Museum acknowledges that we are on the traditional homelands of the Duwamish and the customary territories of the Suquamish and Muckleshoot Peoples. As a cultural and educational institution, we honor our ongoing connection to these communities past, present, and future. We also acknowledge the urban Native peoples from many Nations who call Seattle their home.

Learn more about Equity at SAM