Find a complete list of art shows in Seattle this fall on our Things To Do calendar.
Mood Indigo: Textiles From Around the World (Through Oct 9): This show is 89 pieces of cloth in every possible shade of blue from every time and every place. Given our excessively connected and visually saturated global existence, who wouldn't want Mood Indigo's calming, transhistorical promise of blue immersion and also the possibility of infinite information that it makes available? Mood Indigo is both a diversion from the world and an invitation to lunge back into it. JG
Terratopia: The Chinese Landscape in Painting and Film (Through Feb 26): Classic pastoral depictions of rural China, juxtaposed with a modern film by Yang Fudong.
Barbara Earl Thomas: Heaven is on Fire (Through Oct 2): Barbara Earl Thomas is a Seattle legend worth the title. (She's a 2016 Stranger Genius nominee, and she also recently won the Yvonne Twining Humber Award from Artist Trust.) You might know her as the charismatic founding director of the Northwest African American Museum, but she's finally getting her due as the lifelong artist who channels deep wit, material mastery, and the presence of primordial forces even in ordinary lives to weave stories. They're told in layered prints, paintings, cut-paper installations, sculptures, and writings that hush and captivate. JG
Marita Dingus: Hanging from the Rafters/Big Girl (Through Oct 2): Marita Dingus, known for creating sculptures out of recycled or reused material, will show a large-scale sculpture ("a two-story doll figure") that explores non-recyclable plastics and the environment.
Emancipating the Past: Kara Walker's Tales of Slavery and Power (Through Nov 27): Large-scale print works, cut-steel sculptures, a mural, and a video installation by famously controversial artist Kara Walker, known for her often horrifying and cartoonish depictions of vintage racism.
To: Seattle | Subject: Personal (Oct 1-Jan 8): There are two kinds of objects at a museum, the ones that are borrowed and the ones the museum has decided to commit to by owning them. That commitment is just about as “personal” a decision as a museum makes, and Jo-Anne Birnie Danzker, on the occasion of her departure as the Frye’s director, has organized a show called To: Seattle | Subject: Personal, devoted entirely to works of art that have come into the collection of the museum, by purchase and by gift, since Birnie Danzker began in 2009. It’s her last hurrah of support for locally based, and locally born, artists, often working collaboratively, who address the social conditions of contemporary life. In this vision, she was supported strongly by Scott Lawrimore and Robin Held, who also got some of these artists into the collection and into the galleries in concentrated form. Under Birnie Danzker, The Frye has mounted several big group shows, this one including Kahlil Joseph, C. Davida Ingram, The Black Constellation, DK Pan, Implied Violence, Isaac Layman, Susie J. Lee, and Buster Simpson, among many others. Plenty of those artists were in previous exhibitions; how is this one different? Do we need another group show at the Frye? We will see. The individual works are certainly worth your time and the museum’s space. And one basic difference between this show and any other? These are the works that will remain at the Frye regardless of who sits at the head. JG
Senga Nengudi: Improvisational Gestures (Through Oct 9): I've loved Nengudi's sculptures. Over the years, I've seen them the way they usually appear—placed in line in the chronological march through 20th-century art history at major museums from New York to Paris—next to Robert Morris's sagging rubber sculptures and Eva Hesse's deteriorating latex, all representing a thing called post minimalism. Now I realize how feeble my love was. Senga Nengudi: Improvisational Gestures, the survey exhibition at the Henry Art Gallery with 14 of her sculptures plus photographs, videos, and a performance, reveals to me that I didn't really know the first thing about her work. JG
Trans Hirstory in 99 Objects (Through Jun 4): First came the British Museum’s The History of the World in 100 Objects in 2010, then the Smithsonian’s The History of America in 101 Objects as a response, and now, here, is Trans Hirstory in 99 Objects, organized by the Bellingham-based artist Chris E. Vargas under the auspices of his “imaginary” Museum of Transgender Hirstory and Art (MOTHA). Quantifying, simplifying, and boasting are three of the tenets of institutional life, and they’re three that suit particularly badly a “hirstory” of people defined by changing definitions of gender, gender identity, and sexuality—and this is why Vargas set out on this quixotic but fascinating project. What’s on display are videos, archival materials, and garments focused on the experiences of transgender people living in Seattle and the Pacific Northwest through time, including Nell Pickerall, whose life was a media hit and a personal struggle (also known as Harry Allen and Harry Livingston), and Ingersoll Gender Center Founder Marsha Botzer. Vargas’s work is an experiment in pushing against the problems of categorization and memorialization. JG
100% Kanekalon: The Untold Story of the Marginalized Matriarch (Through Oct 16): Learn more about a powerful woman, sidelined, through this exhibit by Tariqa Waters, a Seattle artist who excels at satire, humor, and spectacle.
Black Bodies in Propaganda (Opens October 29): This exhibit features 33 posters that highlight the use of black bodies in propaganda materials, most created in times of war.
Victoria Haven: Blue Sun (Through Mar 5): A dramatically large wall drawing, inspired by artist Victoria Haven's video project about the transformation of South Lake Union, in which she saw the sun appear as a blue dot reflected through the lens.
Gu Xiong: A River of Migration (Through Nov 28): This exhibit features work by internationally recognized multimedia artist Gu Xiong (known for his large public art projects and work about cultural identities) that will compare the artist's migration from China to Canada to the migration of our favorite local fish: the salmon.
African Renaissances (Through July 16): This exhibit highlights the power of the African continent and imagining a futuristic renaissance, featuring regalia and furnishings that were originally seen in the courts of the Benin, Asante, Kom, and Kuba kingdoms, alongside art created by Maasai, Fulani, and Ndebele women, as well as contributions from a contemporary musical leader living in Seattle.
Go Tell It: Civil Rights Photography (Through Jan 8): This summer, a Reuters photographer snapped his shutter at the moment when a young Black nurse named Ieshia Evans stepped out in front of a line of riot-gear-laden police officers and appeared to repel them—and was arrested immediately afterward. She was a peaceful protester in the Black Lives Matter marches taking place in Baton Rouge on July 9. The photograph immediately went viral, and everybody but everybody—including me—wrote about it. So there's extra-good reason during this moment to revisit historical photography of the work of people arguing simply that Black lives have not mattered as much as they should, and that it's time for the iniquitous inequity to end. SAM has organized this small display of Jim Crow and civil rights photographs for that reason. You'll see images by Dan Budnik, Danny Lyon, Roy DeCarava, Robert Frank, Garry Winogrand, and Marion Post Wolcott. You'll also see a new 45-minute video by the Philadelphia artist Shikeith called #blackmendream, in which nine Black men are interviewed with their backs facing the camera. "When did you become a Black man?" is one of the questions. What are we all becoming? JG
Yves Saint Laurent: The Perfection of Style (Oct 12-Jan 8): The Perfection of Style will feature highlights from legendary fashion designer Yves Saint Laurent's decades-long career.
Jennifer West (Nov 19-May 7): This large-scale installation by Los Angeles-based artist Jennifer West is made up of a series of manipulated 70mm filmstrips hung from the ceiling.
30 Americans (Sept 24-Jan 15): In December 2015, at the time when the protesters behind the campaigns #StopErasingBlackPeople and #DieInAtTAM laid their bodies down in the galleries at Tacoma Art Museum’s exhibition Art, AIDS, America, the museum had already booked the show 30 Americans for this coming fall. 30 Americans is an exhibition of works in many mediums by established Black artists including Jean-Michel Basquiat, Kehinde Wiley, Glenn Ligon, Rashid Johnson, Nick Cave, Kalup Linzy, Robert Colescott, Lorna Simpson, Carrie Mae Weems, Barkley L. Hendricks, Hank Willis Thomas, Mickalene Thomas, and Kerry James Marshall. The show was organized in 2008 by private collectors Don and Mera Rubell in Miami, and it’s traveled to 10 museums around the country since. The show is more than 50 works of painting, sculpture, photography, installation, and video. In the eight years since the election of President Barack Obama and the creation of this show (which the Obamas reportedly attended in D.C.), it is fair to say that much has changed about race in America, and yet nothing has changed about race in America. It will be important to see what 30 Americans can mean for the issues around #StopErasingBlackPeople and Black Lives Matter today as well as an administration ago. JG
Everything has been material for scissors to shape (Through Apr 16): This exhibit explores textiles and textile-making through works by contemporary artists of Asian heritage, commenting on "myth and the everyday, commodity cultures and identity, and evidence and narratives of women’s labors."
Tatau/Tattoo: Embodying Resistance (Through Oct 9): Tatau/Tattoo: Embodying Resistance explores the practices and aesthetics of tattoos across the South Pacific. Samoan poet and author Albert Wendt writes, "Our words for blood are toto, eleele, and palapala. Eleele and palapala are also our terms for earth, soil, mud. We are therefore made of earth." Intertwining identity, nationalism, and memory, this show carefully explores the personal and the political through visual bodily depictions.
Kiss Fear (Nov 3-Jan 28): Kiss Fear is a multimedia exhibit with poetry, sculpture, video, and performance—by poet Daemond Arrindell and artists Mary Coss and Holly Ballard Martz—that will present "touching, powerful and sometimes darkly humorous ruminations on America’s weapon of choice," guns. Supported in part by a grant from 4Culture.
Dave Kennedy (Through Oct 1): Seattle-based artist Dave Kennedy spent a residency away from home cutting up his world—turning photography into collages and installations that have modernist roots and postmodern curiosities. This is his latest work. JG
Guest Curator: Tracy Rector (Oct 5-Oct 29): Tracy Rector calls herself an Urban Native of mixed-race heritage. She's also a filmmaker and Seattle Arts Commissioner, and with all those identities coming together, she's on a mission to give voice to the artists she knows won't necessarily be awarded space or time without her awareness and attention. She began with January 2016's group show YOU ARE ON INDIGENOUS LAND at Core Gallery, brought another outing to Vermillion, and this will be her third presentation. JG
Emily Gherard (Nov 9-Dec 3): Emily Gherard's enigmatic abstract works are mesmerizing whether they're large or small, oil or pencil. As a rule, never miss them. JG
Streetwise Revisited: A 30-Year Journey (Sept 15-Nov 3): In July 1983, Life magazine published a story by Cheryl McCall with photographs by Mary Ellen Mark about the place that was that year being touted as America’s most livable city: Seattle. But rather than contentment, the story, called “Streets of the Lost,” displayed a crush of homeless teenagers scraping by in the heart of downtown through prostitution, pimping, drug dealing, and whatever other hustle they could muster. Sound familiar? The unforgettable Life piece and the film that followed it, Streetwise, directed by Mark’s husband, Martin Bell, could be made today in Seattle, with only the details changed. In this era of “emergency” homelessness, as the mayor has named it, Seattle Public Library is organizing an entire season of events around what’s come from those first days of Mark and McCall roaming the streets of Seattle in 1983. There will be screenings both of Streetwise and of Bell’s new film Tiny: The Life of Erin Blackwell, which follows one of Streetwise’s subjects, a woman still in Seattle, still struggling 30 years on. Photographer Mark died in 2015, and her images from Streetwise remain a landmark in the history of documentary imagery. The library will exhibit about 60 of them on loan from Aperture, and host discussions about art, documentary, social disaster, and Seattle today. Every person in Seattle should see these films and photographs, and consider, despite the lasting power of the art, why things don't change. JEN GRAVES
R. Crumb: Early Works, 1965 - 1967 (Through Nov 2): Now this seems like a bit of an event, amirite? See the early works of controversial and exciting alt-comics hero R. Crumb.
Samantha Scherer: Aerial (Through Oct 8): Samantha Scherer's drawings depict in great detail large-scale disasters like car wrecks, overturned trailers, homes and airplanes and lives tossed and turned and mangled. The drawings are also tiny, huddling in the very center of an 8-by-8 piece of white paper, and they're a little faint, made entirely in pencil. This series is called Aerial. You can see what's happened, but you are at a distance, and there is nothing you can do. Will it feel familiar? These are beautiful little studies in emotional paralysis. JG
Susanna Bluhm: March Snow of New York (Through Oct 8): Almost 100 years after it was made, Susanna Bluhm painted a righteous 1923 painting onto a New York City park bench in winter. The scene takes place not out in the real world but on one of Bluhm's canvases. It's a five-foot-tall oil and acrylic painting called Park Scene with Heap of Snow in Suzanne Valadon's Lap. What we see is a stand of bare trees behind a park bench that's only partly visible. Resting on the bench are a pair of crossed legs draped in flowy green-and-white-striped pants. To an art history nerd, those pants would be recognizable anywhere: They're the ones worn in Suzanne Valadon's 1923 self-portrait The Blue Room. Unlike the figures of Renoir, Degas, or Matisse (to Valadon, friends), Valadon's women, even when nude, were less surfaces for looking and more vehicles for action. Bluhm doesn't paint figures much—more expressionistic abstracted landscapes with "blobs" and "lumps" in them that she calls out directly in her titles. But in this new series, Susanna meets Suzanne, as well as other female artists whose work she either sees or sets in the landscape she finds in contemporary New York in winter. In 1923's The Blue Room, the artist/model is clothed in those famously vivid pants and a pink camisole, a chunk of which also seems to appear on Bluhm's bench. Valadon in her room is smoking and looking elsewhere; she's not interested in talking. Her books are at her side. She may even be scratching her leg with her right arm. Bluhm deposits Valadon on the park bench with a pile of snow in her lap, which seems both funny and a chilly take on the ongoing role of women in painting. Throughout her scenes of hard, cold, icy New York, voluptuous shapes appear in stark but mysterious contrast. Some of them are disembodied red open mouths lined by shining-white teeth. There is much to see here, from abandon to rage. Meanwhile, fellow Seattle-based artist Samantha Scherer shares the gallery with Bluhm this month, and her work couldn't be more materially opposite. Using great detail and super-tight draftsmanship in pencil, Scherer depicts large-scale disasters like car wrecks, overturned trailers, homes and airplanes and lives tossed and turned and mangled. While the scale of events is huge, the drawings are tiny. Each pencil-pile of disaster huddles in the center of an otherwise blank piece of square white paper, 8 by 8 inches. Compared to yodeling oil paints, these pencil marks whisper. Scherer calls the series Aerial, as in you can see the whole thing, but you know virtually nothing about what happened on the ground. Sounds familiar, right? Scherer creates irresistible little studies in emotional paralysis. JG
17th Century Dutch and Flemish Old Masters (Through Oct 1): Old Master paintings by Mannerist Gillis van Valckenborch (Netherlands, 1590s), Flemish art by Jos de Momper (early 17th century), and more, including a painting by Rembrandt pupil Gerbrand van der Eeckhout.
Michelle Anderst: New Work (Nov 10-Dec 4): Michelle Anderst's new mixed media paintings and illustrations will explore "the beauty of sacred geometry."
MKNZ (Nov 3-Nov 23): I don't know what Seattle-based artist MKNZ has in store for this solo show, but I know I've only ever wanted more of MKNZ's queer, feminist, butch, loving, sarcastic, sweet, funny, fleshy aesthetic. I also know the title, to which I say yes in the way that Yoko Ono wrote her tiny and encouraging yes on the ceiling of the art gallery where John first met her: Cumulative Deposits (of you inside me). JG
JD Banke and Lora Baize (Dec 1-Dec 17): See paintings and sculptures depicting modern conspiracy theories by JD Banke and Lora Baize.
Jeffrey Simmons (Nov 3-Dec 23): Recent watercolors by abstract precisionist Jeffrey Simmons.
Mark Calderon (Nov 3-Dec 23): Mark Calderon's quiet, iconic sculptures are this time made of cast bronze, felt, and mica. They were a hit, and justly so, at Seattle Art Fair. Don't miss. JG
Robots Building Robots (Sept 22-Dec 10): Robots Building Robots is a multimedia exhibit exploring "consciousness in the digital age" and the self-reproductive nature of technology, featuring works by international artists Adam Basanta, Tyler Coburn, Caroline Delieutraz, Oliver Laric, Rafael Lozano-Hemmer, Sara Ludy, Jon Rafman, Evan Roth, Sebastian Schmieg, and Silvio Lorusso, and organized by Amanda Donnan.
Sam Vernon (Through Oct 23): A solo show featuring drawing, photography and printmaking by artist Sam Vernon, whose work aims to "pay homage to the past and revise the traditional ghost story, addressing questions of postcoloniality, racialization, sexuality and historical memory."
Erin Anderson: Our Time Is Up (Through Sept 30): This multi-channel sound installation is told through the weekly sessions of an elderly couple's marriage counseling.
E.T. Russian: Casting Shadows (Through Oct 28): E.T. Russian's new work is a multi-sensory video comic installation, and as far as I know, the first major solo exhibition by this artist, who's already pretty much a queer and comics hero. Do you love Clyde Petersen the way I do? Then you love E.T. Russian, even if you don't know it yet. JG
Efrain Almeida: Trance (Through Oct 8): Efrain Almeida's previous solo shows at James Harris Gallery have featured carved wooden pieces—this time, he'll exhibit small bronze sculptures of birds, butterflies, and moths.
Fay Jones: Water (Through Oct 8): For 56 years, Fay Jones has lived in Seattle and made paintings here. She's been recognized with museum retrospectives, and in the mid-1980s she made a huge permanent mural that's still in the tunnel at Westlake Station downtown, where thousands of people pass by every day. Oh, you've seen it. In 2013, Jones won a prestigious Joan Mitchell Grant, but in the last few years she's been relatively quiet—until now. Water is her first solo exhibition at James Harris Gallery. It includes two large, luscious diptych painting/collages, one large triptych, and three medium-sized painting/collages, all on paper. The most beautiful thing I know of that's been written about Jones's work was published last year in Golden Handcuffs Review, and we have permission from the author, Rebecca Brown, to reprint a large chunk of it here. This is Brown on Jones (the "Chris" in question is Brown's wife): "Chris and I went to Westlake Station to see the Fay Jones mural which is bigger than a bus, it's bigger than a train car. We stood on the platform opposite it and watched it in the gaps between the buses and trains that arrived and departed, we watched as parents and kids with suitcases and teenagers with backpacks and women and men with briefcases and bags schlepped on and off or rushed. On the mural above and behind them, like a great, big brightly colored thought bubble in a comic book, a couple danced, a man stood upright in a boat, and fish flew in the sky. It's like the mural is glimpses of half-remembered daydreams of these travelers. Wherever they are, they're somewhere else. Whatever they want they almost see, although not ever quite. They might not be thinking directly of—uh—whatever. But something in them hovers. Whoever they're always imagining. Do not ask what these pictures 'mean.' Don't try to make them tell you. Whatever does red or circle mean? Or shadow or rabbit or man. There is something balanced and something not in them. There is remembering longing and something that tells you look." JG
Casey Curran (Through Oct 1): Works by sculptor, multimedia, and installation artist Casey Curran, who's a cross between a puppet master and a master mechanic.
W. Scott Trimble (Oct 7-Oct 29): This solo show features work by W. Scott Trimble, known for his large-scale sculptures and sculptural installations.
Terry Turrell (Oct 6-Oct 31): Northwest artist Terry Turrell makes highly textured multimedia work (with an emphasis on painting and sculpture), often using recycled materials.
Enduring Freedom: Eugene Richards (Through Nov 13): In these two series of works, the decorated documentary photographer Eugene Richards juxtaposes images from the terrorist attacks on New York in September 2001, and the aftereffects of the war in Iraq in later years.
Neddy Artist Awards: 20 Years (Sept 15-Oct 23): This show features work by 2016 finalists for The Neddy Artist Awards (two annual awards of $25,000) alongside a sweeping show featuring past winners including Victoria Haven, Jeffry Mitchell and Akio Takamori. This year's finalists are Robert Hardgrave, Paul Komada, Kimberly Trowbridge, Dawn Cerny, Mandy Greer, and C. Davida Ingram. The winners are Nathan DiPietro and Clyde Petersen.
Nothing To Write Home About (Oct 3-Oct 28): They write: "Studio assistants of Deb Schwartzkopf and George Rodriguez share work from their yearlong assistantship at Ceramistas Seattle, as they strived to find their place in the legendary Northwest." The anxiety of influence!
Things That Kill (Through Oct 29): Curator Norman Lundin writes, "In our last thematic show, Observing Observing (a white cup), the content (a white cup) was essentially emotionally neutral, devoid of psychological associations. The success of a given work depended upon the artist’s creative abilities at observation to give the work meaning beyond description. In Things That Kill, because of all the psychological associations, the content is the polar opposite of the 'white cup.' It is this red button content that is challenging. For an artist, the difficulty comes in the handling of such content in a manner that the subject matter does not get “front loaded” and subjugate the artwork. 'Front loading' must be resisted by all means—artists necessarily need to keep in mind that subject matter is at the service of the artwork; the artwork is not at the service of the subject matter (unless you’re doing propaganda)."
Frocks & Vestments (Oct 12-Nov 3): See work based on garments, frocks, costumes, and vestments, by artists Larry Calkins, Elizabeth Jameson, Christopher Kroehler, and Liz Tran.
Ellen Ziegler: Studio Visit (Through Oct 1): In SOIL's backspace, see Studio Visit: an installation of new work, alongside objects and materials from Ziegler's own studio.
Intimately Unseen (Through Oct 1): Intimately Unseen will explore the practice of seeking space for growth, and feature installations, drawings, paintings, and prints by Seattle-based artists Jessica Hoffman, Satpreet Kahlon, and Markel Uriu.
Just Visiting (Nov 3-Nov 26): Just Visiting is a large group show curated by Serrah Russell and Rafael Soldi that will take up the entirety of SOIL, featuring works by Clayton Cotterell, Holly Andres, Evan Baden, Julia Bradshaw, Natalie Krick, Zack Bent, Eirik Johnson, Megumi Shauna Arai, Max Cleary, Josh Poehlein, Ashley Armitage, Birthe Piontek, Patryk Stasieczek, and Elizabeth Zvonar.
Fernanda D'Agostino: Generativity (Sept 23-Dec 16): This is the final exhibition in the sacred room called Suyama Space, which has hosted site-specific installations for 19 years, curated by the great Beth Sellars. This brand-new work, Generativity, is by Portland-based artist Fernanda D'Agostino, whose last work of projected media and sculpture Stephanie Snyder in Artforum called "a feast of sensory experience and symbolic power." This one "explores the reproduction and proliferation of nature through sculpture, video projections, coding, and sound," and it features performance (later in the run) by Isabelle Choiniere. This weekend you can celebrate/commiserate at the opening on Friday night, listen to the artist talk on Saturday at noon, and consider the possibility of having your great memories of Suyama Space erased entirely, so you'll never have to miss it. (You might also just tell Sellars thanks.) JG
Cappy Thompson: New Works (Through Oct 1): Cappy Thompson is responsible for the 90-foot-long window mural—a woodland/celestial scene of painted glass titled I Was Dreaming of Spirit Animals (2003)—at Seatac International Airport. At the gallery this month, see the Seattle artist's smaller but no less vivid engraved glass and multimedia works. JG
American Painting Today (Nov 28-Dec 18): American Painting Today is a group exhibition of paintings organized by artist Matthew Offenbacher, who recently had an exhibit at INCA that featured a giant sculpture of a whale that was also a kind of musical instrument.
Coast to Coast - WEST (Oct 13-Jan 11): Coast to Coast will feature 100 juried works by the National Association of Women Artists and the Women Painters of Washington.
Emancipating the Past: Curator Talk and Live Performance (Oct 11): Hear about the history of silhouettes and silhouette animation from curator Jessi DiTillio, and learn how it relates to Kara Walker's contemporary practice. The talk will be followed by a film screening of Lotte Reiniger's The Adventures of Prince Achmed with a live, original score performed by Miles and Karina.
Kitchen Sessions: Kara Walker, Curated by Imani Sims (Nov 9): Central District Forum for Arts & Ideas and Bellevue Arts Museum will bring the exhibit Emancipating the Past: Kara Walker's Tales of Slavery and Power to life with performances by artists including The Lady B and Eva Walker.
ArtTalk at Capitol Cider: This (Manipulated) Natural Splendor (Oct 12): Artist (and former software engineer) Claude Zervas has a unique approach to technology and art. He has made digital images in the style of surveillance photography and high-resolution prints of Disneyland's commercial slides from the 1960s. At this artist talk, he'll speak about his approach to artistic technology as well as "the places and things that give him his inspiration."
Improvisational Gestures Performance and Curator Talk (Oct 1): They write: "As part of the exhibition Senga Nengudi: Improvisational Gestures, dancers perform one of Nengudi's nylon mesh sculptures from the R.S.V.P. series. Following the performance, Nina Bozicnik, Assistant Curator, will share thoughts on the role of the body and ritual across Nengudi's work, from sculpture to performance." What's most important not to miss is the performance in the gallery itself. That will start on time and only last 15 minutes, so get there early to get a seat. JG
Johannes Goebel: The Politics and Mechanics of Archiving-Moving Parts, the Cloud, Magnetic Fields, and Stone (Oct 29): Johannes Goebel (Director of the Experimental Media and Performing Art Center at Rensselaer Polytechnic Institute) will speak about "documents, the volatility of bits, and a system to preserve them."
Visual Culture of the African Diaspora (Nov 17): This four lecture series (with two dates TBA) is presented by NAAM and the Frye Art Museum, and will explore the history, practice, and impact of African Diaspora artists.
Nerd Grinder (Oct 16): Nerd Grinder is a swap meet/market offering comics, movies, toys, games and more.
It's Not Me, It's You (Nov 26): Take a look at a year's worth of Tinder rejections, illustrated, by Dillon Lacey.
Dia de los Muertos Celebration (Oct 28): Celebrate Dia de los Muertos by viewing SAM's tapete (sand painting) installation inspired by Oaxaca—they'll also have dance performance, art activities, music, and more.
SAM Talks: Fashioning Roles of Diversity with Bethann Hardison (Nov 2): Model and advocate Bethann Hardison will speak about diversity in the fashion industry and how it relates to the exhibit Yves Saint Laurent: The Perfection of Style.
First Friday Lecture: The Perfection of Style (Nov 4): Chiyo Ishikawa (Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture) will speak about the exhibit Yves Saint Laurent: The Perfection of Style.
SAM Remix (Nov 18): Enjoy an evening of art featuring performance, tours, dancing, and art-making at #SAMRemix.
First Friday Lecture: Curator Xiaojin Wu Discusses Artist Tabaimo (Dec 2): Xiaojin Wu (Curator of Japanese and Korean Art) will discuss the artist Tabaimo.