Sonia Delaunay
Frida Kahlo
Dora Maar
Diane Arbus
Marina Abramovic
Louise Bourgeois
Atsuko Tanaka
Cindy Sherman
Sophie Calle
Gina Pane
Hannah Wilke
Nan Goldin
Tania Bruguera
'Elles: Women Artists from the Centre Pompidou, Paris' features painting, sculpture, drawing, photography, video and installation by forward-thinking women artists: Frida Kahlo, Diane Arbus, Louise Bourgeois, Gina Pane, Tania Bruguera and many more. 'Elles: SAM - Singular Works by Seminal Women Artists' is a series of focused exhibitions transforming SAM's galleries and celebrating the accomplishments of approximately 30 female artists. On view Georgia O'Keeffe, Imogen Cunningham, Yayoi Kusama...
SEATTLE ART MUSEUM PRESENTS ELLES: WOMEN ARTISTS FROM THE CENTRE POMPIDOU, PARIS
October 11, 2012 – January 13, 2013
SAM is the only U.S. venue for this groundbreaking exhibition that tells a
story of modern and contemporary art solely through the work of women
artists.
SEATTLE– August 1, 2012- This fall
the Seattle Art Museum (SAM)
presents Elles: Women Artists from
the Centre Pompidou, Paris, an
exhilarating survey of painting,
sculpture, drawing, photography,
video, and installation by forward-
thinking women artists from one of
Europe’s most extensive collections
of modern and contemporary art.
Elles, on view from October 11, 2012
through January 13, 2013, is an
unforgettable visual experience that
will challenge visitors’ assumptions
about art of the past century. More
than 125 works of art made by 75 women artists from 1909 to 2007 reveal a history of 20th and
21st century art from a new and illuminating perspective.
Seattle is the only US venue for Elles, which includes key works by women artists from around the
world including Sonia Delaunay, Frida Kahlo, Dora Maar, Diane Arbus, Marina Abramović , Louise
Bourgeois, Atsuko Tanaka, Cindy Sherman, Sophie Calle, Gina Pane, Hannah Wilke, Nan Goldin,
Tania Bruguera, and many more.
One of the most ambitious exhibitions of recent years, Elles pulses with energy, channeled
frustration, and self-definition, resulting in a memorable visual and historic experience.
“Other exhibitions specifically exploring female artists and feminism have been organized in recent
years – notably the 2007 exhibition Wack! Art and the Feminist Revolution organized by the
Museum of Contemporary Art, Los Angeles,” said Marisa C. Sánchez, Associate Curator, Modern
and Contemporary Art at the Seattle Art Museum. “But Elles is distinctive in its broader historical
scope. The art collection at the Centre Pompidou is uniquely rich, allowing for a survey of art
made by women artists that few if any other museum collections would have the depth to
organize.”
Distilled from a highly acclaimed long-term exhibition,
elles@centrepompidou, that began in May 2009
and filled the Centre Pompidou in Paris, Elles places
women’s art at the core of the development of 20th-
21st century art. When on view in France, the massive
exhibition took over the Pompidou galleries for nearly
two years, completely changing the otherwise male-
dominated discourse about the history of art in a
culture in which there has historically been less focus
on feminism and women’s issues in art. Now for the
first time in the US, this exhibition adds to a
developing conversation about the role and influence
of women in modern and contemporary art, through
works from one of the largest and most respected
collections of modern and contemporary art in the
world. The more than 125 works on view in Elles have
never travelled together as a collection, and the
exhibition’s specific focus on female artists brings
attention to major works that until now have not been
on continual view to the public.
In keeping with its presentation at the Centre Pompidou, Elles is installed thematically and loosely
chronologically. The exhibition begins with sections chronicling women’s art from the first half of
the 20th-century including The Early Avant Garde, Get Your Woman On, Surrealism, Paris in
the 1920s and 1930s, Bauhaus and Paris/New York. These spotlight women artists’ significant
contributions to the developing language of Modernism, from abstraction to explorations of identity
to pushing the boundaries of media such as photography and more. In addition, these sections
introduce ideas of identity and images of the female figure that would redefine what it was to be a
woman in twentieth century times.
Moving into the Post World War II period, Eccentric
Abstraction includes work by Abstract-Expressionist
Joan Mitchell along with more figurative and organic
abstract sculptures by artists including Lygia Clark,
Louise Nevelson and Louise Bourgeois to name a
few. Feminism and Critics of Power, The Activist
Body, Muses Against the Museum and Figures of
Speech bring to the fore the dramatic artistic
experimentation – from performance and activist art,
to guerilla and conceptual work and more – that
began in the 1960s and 1970s and continued to be a
part of women’s art throughout the 20th century and
beyond. The Body is dominated by many now-iconic
videos and photographs that explore representations
of the body, especially the stereotypes and
contradictions inherent in the cliché of ideal beauty
fashioned by the media, film industry and advertising
culture. Contemporary artists, including Cindy
Sherman, Marina Abramović, Lorna Simpson, and
others have probed the systems through which beauty is reinforced and fabricated. Elles closes
with Narrations, bringing together the probing and intimate works of contemporary artists, such as
Annette Messager, Mona Hatoum, Nan Goldin, to name a few, that reject set genres and often
combine sound, images and unorthodox materials to make statements about love, loss,
relationships, world events, autobiography, and more.
Elles: SAM
SAM will amplify the impact of this landmark exhibition through a major reinstallation of its own
collections of modern and contemporary art. From October 11, 2012 through February 7, 2013, a
series of focused exhibitions will transform SAM’s galleries, celebrating the accomplishments of
approximately 30 female artists. Works on view will include 1920s paintings by Georgia O’Keeffe
and photographs by Imogen Cunningham, a dramatic installation of Yayoi Kusama’s mixed media
works, Jenny Holzer’s Inflammatory Essays, a solo show of Seattle-based artist Victoria Haven
and much more. These exhibitions will be drawn from SAM’s own collection, as well as from key
private collections from throughout the region and across the country.
Extending to the museum’s two other locations, Sandra Cinto’s site-specific installation Encontro
das Águas (Encounter of Waters) is on view at the Olympic Sculpture Park through April 14,
2013, and several exhibitions, including Tooba, a video installation by Iranian-American Shirin
Neshat; Where Have they Been? Two Overlooked Chinese Female Artists; and Women’s
Paintings from the Land of Sita will be featured at the Seattle Asian Art Museum throughout the
fall and winter.
Elles: Women Artists from the Centre Pompidou, Paris is organized by the Seattle Art Museum and the
Centre Pompidou, Paris. The Seattle presentation of this exhibition is made possible with critical funding
provided by SAM’s Fund for Special Exhibitions. Exhibition sponsors are The Boeing Company, Microsoft,
The Seattle Art Museum Supporters (SAMS) and U.S. Bank. Supporting Sponsors are The Brummel-Keaton
Family Fund and Melbourne Tower. Media Sponsors are King 5 Television and The Seattle Times. Official
Hotel Sponsor is Four Season Hotel Seattle.
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SAM TRANSFORMS ITS OWN MODERN AND CONTEMPORARY GALLERIES TO FEATURE ONLY THE WORK OF WOMEN ARTISTS
Elles: SAM – Singular Works by Seminal Women Artists
October 11, 2012 – February 7, 2013
Works from SAM’s collection and notable private collections complement the
historic exhibition Elles: Women Artists from the Centre Pompidou, Paris
SEATTLE, SEPTEMBER 26, 2012 – This
fall and winter, the Seattle Art Museum
(SAM) is presenting Elles: Women Artists
from the Centre Pompidou, Paris, a
groundbreaking exhibition from one of the
world’s most renowned collections of
modern and contemporary art. This
international survey of painting, sculpture,
drawing, photography, video, and
installation by pioneering women artists
includes more than 130 works of art
made by 75 artists from 1907 to 2007.
To amplify and enhance Elles, SAM is
transforming its modern and contemporary galleries on the third floor to highlight the
accomplishments of women artists whose work is not explored in greater depth in the exhibition
from the Centre Pompidou. With works in a broad range of media from the 1920s through today,
Elles:SAM is comprised of installations that include works from SAM’s own collection as well as
loans from private lenders and public institutions throughout the region and across the country.
Together, they contribute to the complex story of the role women have played throughout the
history of 20th and 21st century art.
MODERN AND CONTEMPORARY ART
During Elles:SAM, all of the museum’s modern and contemporary art galleries will be reinstalled
with work by only women artists. This is the first time a major re-installation has taken place since
the expansion opened in 2007. A combination of solo and thematic exhibitions and installations
intersect and deepen the conversation initiated by Elles: Women Artists from the Centre
Pompidou, Paris.
Beginning with works form the 1950s and 1960s,
the exhibition includes works by pioneering
women artists who made major contributions in
the arena of painting during and long after the
Abstract Expressionist wave had subsided. Often
overshadowed by their male peers during the
hayday of the abstract painterly movement, the
reputation of Helen Frankenthaler, Lee Krasner,
and Joan Mitchell has soared in recent decades.
Frankenthaler’s luminous, color-stained canvases
were influential to numerous other artists of her
generation, while Mitchell developed an
increasingly bold abstract, gestural language, and
Krasner’s mature paintings began to reintroduce
figurative elements at a time when abstraction
was still the critical favorite. The installation is entitled “Modern Masters,” a variation on the “Old
Master” theme that was a common tribute to celebrate accomplished male artists at mid-century.
In this instance the emphatic, albeit tongue-in-cheek designation, is bestowed upon three towering
female painters. While several of the paintings on view in this installation come from within SAM’s
permanent collection, most are on loan to the museum from private collections in the Seattle area.
Elles:SAM advances the artistic conversation to subsequent decades with works by artists who
demonstrate that counter to mainstream art historical writings the conversation did not move
swiftly from figuration to abstraction at mid-century. Especially the work of experimental women
artists demonstrate the push and pull between abstraction and figuration in the 1950s and ‘60s,
which inspired subsequent generations. Paintings from SAM’s collection by Agnes Martin and Joe
Baer, for example, reflect a minimalist aesthetic that test viewers’ perception with their subtle
variations. At the same time, counterproposals that reference objects or the body emerge from the
works of Eva Hesse, Elizabeth Murray, Louise Bourgeois and others. A younger generation of
artists including Ellen Gallagher and Ghada Amer borrow liberally from the stockpile of abstract
styles to explore issues of race and sexuality.
Yayoi Kusama: A Total Vision
The first-ever Seattle
museum exhibition of the
radical and mesmerizing
works by art-world superstar
Yayoi Kusama is also part of
Elles:SAM. In the 1950s
Kusama began creating
works that reveal her own
startling, visual universe
fueled in part by her lifelong
struggle with obsessive
neurosis and hallucinations.
Crowded with repetitive patterns of nets, dots and flowers the artist’s two-dimensional works later
grew to include installations that seem to swallow the viewer in her pulsating world, sculptures
covered with household objects and oddly shaped protrusions that are in equal measure
exuberant and unsettling. Elles:SAM brings together a group of drawings, paintings and sculptures
from key moments in Yayoi Kusama’s career, demonstrating the breath of her unique
contributions. The installation will be on view in SAM’s dramatic, double-height gallery.
In addition, several installations in Elles:SAM highlight more recent developments. Seattle-based
artist Victoria Haven is represented with an installation of all new sculptures and drawings. Her
recent work uses ephemeral signs and objects as starting points for exploration. Mapping personal
experience through art, the topography of the Pacific Northwest is surfaces in surprising ways-
and a piece of music ephemera--a list of songs from a mixed tape serves as the inspiration for a
portable monument.
Informed by the strategies of Conceptual art,
Jenny Holzer has recreated for Elles:SAM
her celebrated poster series Inflammatory
Essays. Steered by the artist’s intense
engagement with feminism and the politics of
power and power relationships, the posters
draw on the words of intellectuals, politicians
and ideologues from the left and the right,
including Trotsky, Hitler, Mao, Lenin and
Emma Goldstein. Inflammatory statements
by these individuals and others are
presented, un-credited, as text against
brightly-colored backgrounds, challenging
viewers to take a position in opposition or in
alignment with the statements. . A second
version of the poster series will be installed outside the museum on Paper Hammer, at the corner
of 2nd Avenue and Union Street.
Since the 1970s, Adrian Piper’s artistic practice has centered on performance and video works.
She brings the rigor and structure of conceptual work to subjects that evoke strong emotional
reactions. Barricaded into a corner of the gallery by an overturned table, Cornered addresses the
subtleties of racial discrimination, challenging the comfort or discomfort of Caucasian viewers
when presented with questions and reflections on the subject of race.
VIDEO ART
Video art has been an important part of the history of art in the last 50 years and Elles:SAM
includes a gallery that will present a variety of single-channel videos by women artists. Changing
on a monthly basis, these videos will be presented in roughly chronological order and will include
works by Yayoi Kusama, Dara Birnbaum, Laurie Anderson, Tracy and the Plastics, Moyra Davey
and Tracey Rose.
Altered variants of found shapes like the black double diamond that entices accomplished athletes
on ski slopes provide a way of connecting the space of the gallery to distant locations.
AMERICAN ART
In the 1920s, Georgia O’Keeffe was an anomaly. Not only was she a woman creating bold,
original work in a field dominated by male artists, but also she was an artist painting abstract forms
that were construed by critics as being overtly
feminine, sensual and even sexual. Elles:SAM
includes two large canvases by O’Keeffe, on loan
to the museum from private collections. Black,
White and Blue from 1930 and Cow' Skull on
Red from 1931/36 display a range in the artist’s
work. The purely abstract composition of Black,
White and Blue is imbued with subtle shading
and gradations of a nearly monochromatic color
scheme that give its forms movement and
volume, while the representational Cow’s Skull is
dead and still, pushed out to the front of the
picture plane by its flat, red background.
The O’Keeffe paintings are on view alongside
several photographs by Imogen Cunningham
from within SAM’s own collection. Similar to
O’Keeffe, Cunningham often looked to nature for
her subject matter, building compositions that defied conventional approaches. In many of her
works, for example, she has isolated extremely close-up images of natural forms against neutral
backgrounds, resulting in photographs that appear more abstract than representational. Other
contemporaries of O’Keeffe and Cunningham such as Ella McBride, Margaret Bourke-White and
Lola Alvarez Bravo, whose works are also on view, similarly sought to defy conventional
representation, finding new means of portraying their subject matter. The choices they made
reflected their personalities. Rather than approaching art as mere descriptions, they overtly
asserted their own, often bold perspectives in compositions that transform the viewer’s perception
of otherwise familiar objects. Through the unique treatment of their subject matter, each
expressed them herself, her intellect and her emotions in unmistakable ways.
By later in the 1930s, the American Abstract Artist Group began to exhibit more non-objective
works of art in New York. Although initially under the influence of new abstract art coming out of
Europe, this group sought recognition as working in a distinctly American mode. It was this goal
that drove the group’s female members, rather than any quest for recognition as equal to their
male counterparts. Amidst a political climate that saw social realism as the only true and relevant
American style, abstraction was viewed as indigenous only to Europe and even, at times, “un-
American.” Among the diverse women artists who participated in the founding of the American
Abstract Artists group were Russian émigré Esphyr Slobodkina; Alice Trumbull Mason,
descendant of the venerable 18th-19th century painter John Trumbull; and New York aristocrat
Suzy Frelinghuysen. Works by each of these artists are on view in Elles:SAM, along with paintings
by later member Charmion von Wiegand and Oregon-based artist Maud Irvine Kerns, a devotee of
Wassily Kandinsky who found her outlet at New Yorks’ new Museum of Non-Objective Painting.
OTHER SEATTLE ART MUSEUM LOCATIONS
Extending to the museum’s two other locations, Sandra Cinto’s site-specific installation Encontro
das Águas (Encounter of Waters) is on view at the Olympic Sculpture Park through October
2013, and several exhibitions, including Tooba, a video installation by Iranian-American Shirin
Neshat; Where Have they Been? Two Overlooked Chinese Female Artists; and Women’s
Paintings from the Land of Sita will be featured at the Seattle Asian Art Museum throughout the
fall and winter. The Museum’s rental sales gallery will feature the exhibition Elles@SAMGallery
with women artists from the northwest, including Deborah Bell, Jaq Chartier, Claire Cowie, Marita
Dingus, Stacy Rozich, Yuri Kinoshita, Molly Landreth and more.
Information about all exhibitions and events produced in conjunction with Elles is available on the
museum’s website at www.seattleartmuseum.org/elles .
Image: Museum Highlights: A Gallery Talk, performance, still, 1989. Courtesy the Artist. © Andrea Fraser, Photo: Kelly & Massa Photography.
CONTACT: Cara Egan, Seattle Art Museum P.R., 206-748-9285 / carae@seattleartmuseum.org
Seattle Art Museum Downtown
1300 First Avenue - Seattle, WA 98101-2003
Hours
Wednesday–Sunday: 10 am–5 pm
Thursday & Friday: 10 am–9 pm
Monday & Tuesday: closed
October 11, 2012–January 13, 2013
Tuesday–Sunday: 10 am–5 pm
Thursday & Friday: 10 am–9 pm
Monday: closed
Tickets
Suggested General Admission Prices
* $17 Adult
* $15 Senior (62+), Military (with ID)
* $11 Student (with ID), Teen (13–17)
* FREE for children (12 and under)
* FREE for SAM Members