Friday was a rough morning. But with help from my Mom, I was able to head out to the Seattle Art Museum. The storm in Anchorage had left my inner battery drained. I survived and made it home safe. Since arriving home, it's been all about helping the girls rest and prepare for school. By Friday I was in desperate need of a deep re-charge and for that I know it means a visit to the Seattle Art Musuem.
The ferry ride was gorgeous. The Mountain was out and the waters were a deep blue with contrasting whitecaps from the strong winds. Every time I see the Mountain it's a treat. It has so much natural majesty and reminds me how blessed I am just to live here. As I walked up 1st Avenue to the museum, I chatted with a friend on the phone whose voice always calms me.
The SAM library is open to the public Wednesday-Friday 10-4pm. So I have started to stop by and learn how to use it. My goal that day was to look at the profiles on the Tlingit pieces, something I'd never done before. As the librarian helped me, I found profiles on some Tlingit pieces including Yéil x'eenh, the Raven Screen, from the Frog House in Kluwan and Xoots Kudas' Bear shirt, a Chilkat tunic, from Angoon. I was hoping the profiles would tell me how the items were collected and where they have been. But they just had copies of published references. So I photocopied an article from American Indian Art Magazine 2005 about the Raven Screen from Klukwan to read later.
I was hoping to find more information on Keét Gwata, the Killer Whale dagger that I saw on Facebook at a Potlatch in Juneau two weekends ago. I had been so delightfully surprised to see the dagger I had read about in the Spirit Within at the Potlatch! I was able to chat through Facebook with Edwell John Jr. who was holding the dagger in the photo. He confirmed it was indeed the Killer Whale Dagger and had been repatriated from the Seattle Art Museum.
There was no profile on it. In the Spirit Within p.40 the "family history identifies the maker of this important at.óow as Goochk'i Yéis (Dark Wolf). But I was able to find another reference of it in Box of Daylight by Bill Reid p.98 that it is said to have been made 9 generations ago.
I also found a photo of Núńukvas and his wife in a Canoe in Bella Bella in 1889. I love seeing the old buildings, including the Big House in the background. During the Canoe Journey hosting this summer inside gatherings, like meals and evening Protocol, were in the community hall. So that will be interesting to find the story of what happened to their Big House.
After the library, I did a quick walk through of the Native American permanent collections. Taking pictures of a Tlingit adze (carving tool) dated 1870 and a Haida Argillite box dated 1885 for a friend who I thought would like them. I walked by the Aboriginal paintings that I love. Being shooed off for being on the phone by a security guard (that was you Suze), I was sent to the kid area. Chuckles.
And lastly I was able to walk through Modernism in the Pacific Northwest: The Mythic and the Mystical. It was closing in two days. And I wanted one last look at my favorite pieces of Mark Tobey's. I'd been reading the catalog all summer. It's a rare treat to see a prominent artist who is a Baha'i. I love reading how his spiritual beliefs were a part of all of his work. He lived 1890-1976. So his themes on Peace and a global community are deeply meaningful to me. Knowing that he used his spiritual values to inspire his art resonates with my heart.
What is art but a way to express what our heart is feeling? How do we contribute to the dialogue today about World Peace, outgrowing war as a tool of conflict or about our responsibility that all children on earth have full tummies and a school to go to?
My time in the Seattle Art Museum did exactly what I knew it would. It gave me such great joy my inner battery was re-charged. I felt stronger and more capable by reading the books in the library, seeing the magnificent art of my Ancestors and I was inspired to keep asking the questions that need to be asked today.












