Calendar

A young woman, Yoko, travels with a small crew to Uzbekistan to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

A brilliant mix of black comedy, travelogue, drama, and an adventure-imbued mockery of showbiz, TO THE ENDS OF THE EARTH is a young woman’s journey from displacement to a place of self-discovery.

3 day rental • NR • 120 min. • Japanese with subtitles

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

We have moved the date and time to accommodate more diverse groups in our community!

Bring Your Own Creation or share your favorite literature piece!

Please RSVP using our form: https://forms.gle/uv7rciwC6CLJkRbS8

A young woman, Yoko, travels with a small crew to Uzbekistan to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

A brilliant mix of black comedy, travelogue, drama, and an adventure-imbued mockery of showbiz, TO THE ENDS OF THE EARTH is a young woman’s journey from displacement to a place of self-discovery.

3 day rental • NR • 120 min. • Japanese with subtitles

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

A young woman, Yoko, travels with a small crew to Uzbekistan to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

A brilliant mix of black comedy, travelogue, drama, and an adventure-imbued mockery of showbiz, TO THE ENDS OF THE EARTH is a young woman’s journey from displacement to a place of self-discovery.

3 day rental • NR • 120 min. • Japanese with subtitles

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

A young woman, Yoko, travels with a small crew to Uzbekistan to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

A brilliant mix of black comedy, travelogue, drama, and an adventure-imbued mockery of showbiz, TO THE ENDS OF THE EARTH is a young woman’s journey from displacement to a place of self-discovery.

3 day rental • NR • 120 min. • Japanese with subtitles

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

Every 2nd Wednesday Issa, Pussy Willow, and Glenn Coco with featured artists will be paying tribute, reclaiming, and most importantly celebrating black and brown bodies.

Pop-up performances will occur throughout the night including a brand new trio performance by Issa, Willow, and Glenn every week so you do not want to miss this!

A young woman, Yoko, travels with a small crew to Uzbekistan to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

A brilliant mix of black comedy, travelogue, drama, and an adventure-imbued mockery of showbiz, TO THE ENDS OF THE EARTH is a young woman’s journey from displacement to a place of self-discovery.

3 day rental • NR • 120 min. • Japanese with subtitles

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

Join us March 30 for a conversation on Ukraine and Russia featuring former US Ambassador to Ukraine Marie Yovanovitch w/veteran Moscow correspondent Carol J. Williams. Starts at 7:30 p.m. (in-person event).

The annual Herbert J. Ellison Memorial Lecture is sponsored by The Henry M. Jackson School of International Studies and the Ellison Center for Russian, East European and Central Asian Studies at the University of Washington in partnership with the Henry M. Jackson Foundation

This event is free and open to the public. RSVP required.

Register/Join Waitlist: bit.ly/MARCH30EVENT

A young woman, Yoko, travels with a small crew to Uzbekistan to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

A brilliant mix of black comedy, travelogue, drama, and an adventure-imbued mockery of showbiz, TO THE ENDS OF THE EARTH is a young woman’s journey from displacement to a place of self-discovery.

3 day rental • NR • 120 min. • Japanese with subtitles

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

The TransTech Summit provides attendees with tools to grow their existing careers, interact with new media technology, network with other LGBTQIA people, learn new skills, and access additional training tools.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

At the peak of the 19th century, the Tacoma Method was praised as an effective method to eradicate Chinese communities on the West Coast. This is the operatic retelling of Tacoma’s dark history.

Asia Pacific Cultural Center Presents the First Annual Khmer New Year

FREE ADMISSION • FUN FAMILY EVENT
————————————————————————————-
• Cultural Arts
• Religion (Monks Chanting)
• Games, Live Performances
• Singing Contest
• Bok La Hong (Papaya salad) Contest
• Dessert Dash
• Silence Aution
• Food Booths and Retail Vendors

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

The TransTech Summit provides attendees with tools to grow their existing careers, interact with new media technology, network with other LGBTQIA people, learn new skills, and access additional training tools.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

Grand Opening event at the new Portland Indigenous Marketplace office space!!

Join us and celebrate together our tradition over 50 years old! Eat delicious, traditional food, and traditional Polish pastries and get gifts, traditional crafts, t-shirts, and much more for yourself or family and friends!

Delicious dinners of pickle soup, white borscht, pierogi, and more were served all day. Whole menu 
Take-home dinners and sweets are available. Frozen menu to go
Delectable pastries like Pączki, poppy seeds cakes, and traditional Polish cheesecakes as well as coffee/tea at the dessert booth.

Upstairs features an excellent selection of amber, books, crafts, Bolesławiec pottery, and more!

At the peak of the 19th century, the Tacoma Method was praised as an effective method to eradicate Chinese communities on the West Coast. This is the operatic retelling of Tacoma’s dark history.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

The TransTech Summit provides attendees with tools to grow their existing careers, interact with new media technology, network with other LGBTQIA people, learn new skills, and access additional training tools.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

Grand Opening event at the new Portland Indigenous Marketplace office space!!

At the peak of the 19th century, the Tacoma Method was praised as an effective method to eradicate Chinese communities on the West Coast. This is the operatic retelling of Tacoma’s dark history.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

The TransTech Summit provides attendees with tools to grow their existing careers, interact with new media technology, network with other LGBTQIA people, learn new skills, and access additional training tools.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Specializing in intricate natural and oil-dyed wooden and paper mosaics, artist Naoko Morisawa invites viewers to experience Happy Room — Mosaic Collage, a collection of over 50 small, mid, and large-scale works that evoke a sense of joy and draw from the Hygge lifestyle. The installation is divided into four rooms, Shoes/Closet, Kitchen/Living Room, Theater Japonism/Living Room, and Heart Room.

Each piece and room transforms everyday objects like a dependable pair of shoes or a pastry from a café into ornate, dynamic mosaics that invite viewers to find beauty in the details. Happy Room — Mosaic Collage features pieces from various bodies of work from the past 15 years including pieces from My Collection Shoes, Mosaic Café, Japanese Opera – Noh Mask, and newer abstract works.

A showcase of transgender and sacred gender indigenous artists working in digital media, transmedia, film, 360 video, glitch art, contemporary interpretations of traditional forms, and future mediums. digital indigiqueer: a showcase of trans transmedia includes 11 individual pieces exploring the diversity of contemporary indigenous creativity and touching their futures and pasts. Work from Raven TwoFeathers, Ty Defoe, Raven Kameʻenui-Becker, Communidad Catrileo+Carrion, Elijah Forbes, and organizer Hexe Fey.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Tidwell Social Work Multicultural Community Dinner is the third Tuesday of every month at the Global Lounge Commons. We would love to have you join us for the wonderful evening, celebrating the food of different cultures each month.
This event is always free and child-friendly and always starts at 6pm.
Please feel free to bring a side dish or dessert to share.
Each month will bring new cultural experiences with food, possibly music and always laughter!

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Art and history come together to tell a multidimensional story about humanity. Art is a catalyst for healing cultural pain, both personal and collective. In this exhibition, four artists address stories of immigration where art is a sanctuary, resulting in regeneration and innovation. They speak through their works about histories and heritage, using non-traditional media and configuring materials in new ways. Through their practices, they unearth a life purpose and an empowered self.

When artist Victor Kai Wang arrived in the United States in 1980 from China, he felt alone and adrift, struggling to comprehend his new surroundings. Suchitra Mattai’s ancestors navigated a bewildering and dangerous journey across the Atlantic to the Caribbean. Balancing between two cultures unsettled Tuan Nguyen and Jean Nagai. In childhood, they felt a need to adapt to survive. Each of these artists turned to creative innovation to change their focus and direction.

We have all felt a sense of disorientation since the COVID-19 pandemic began. We have had to adjust and find our way to a new reality. What does it take to reorient yourself to joy? Creating art, of any kind, is an active meditation. Creative innovation leads to joy, and joy brings healing.

Paradice Avenue Souf and the Wing Luke Museum join in collaboration to explore the intersection of Black and Brown communities in Seattle and across the globe, in the present day and through time immemorial.

This exhibition will feature the “Black and Brown Solidarity” mural by Paradice Avenue Souf along with new work and a video short documenting the story of Paradice Avenue Souf and their travels and connections throughout African and Southeast Asia.