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Share with families to help them get the most out of their visit!

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Search SAM's collection of over 25,000 art works and objects!

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10am Group arrives in Volunteer Park in front of the Seattle Asian Art Museum

10-10:20am Introduction at Museum Entrance and Lower Level

10:20-11:20am

GROUP 1: Tour (docent led)

GROUP 2: Art Activity in Education Studio (teaching artist led)

11:20am Switch (please communicate with your docent if more time is needed for a snack)

11:20am-12:20pm

GROUP 2: Tour (docent led)

GROUP 1: Art Activity in Education Studio (teaching artist led)

12:20pm Program ends

You may eat lunch in the Education Art Studio, the Garden Court, and/or Volunteer Park. You are welcome to stay until the museum closes.

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10am Group arrives in Volunteer Park in front of the Seattle Asian Art Museum

10-10:20am Introduction at Museum Entrance and Lower Level

10:20-11:10am

GROUP 1: Tour (docent led)

GROUP 2: Art Activity in Education Studio (teaching artist led)

11:15am Switch (please communicate with your docent if more time is needed for a snack)

11:20am-12:10pm

GROUP 2: Tour (docent led)

GROUP 1: Art Activity in Education Studio (teaching artist led)

12:10pm Program ends

You may eat lunch in the Education Art Studio, the Garden Court, and/or Volunteer Park. You are welcome to stay until the museum closes.

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Free admission is granted to Highline Public Schools students and families. Please identify the school that the student(s) attend at the Ticketing Desk. Available onsite only.

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Eyes on Asia: Key Vocab and Questions/Prompts

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Eyes on Asia: Key Vocab and Questions/Prompts

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Revamped Seattle Asian Art Museum: Tips for Taking the Kids

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Revamped Seattle Asian Art Museum: Tips for Taking the Kids

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Editor's note: With terrifically unlucky timing, the revamped Seattle Asian Art Museum had been open less than two months when the pandemic forced it to close again in early 2020. It's now reopening to the public Friday, May 28, 2021. Book tickets online, in advance.
The Seattle Asian Art Museum reopens this weekend after a three-year, $56-million renovation. Did you snag one of the 10,000 tickets to the free open house? Lucky you. It's been sold out for weeks.

Don't worry if you missed out on the free tix. The Seattle Asian Art Museum is generous with its free days: admission is free for everyone on the first and second Thursday and first Saturday of every month. And the big open secret is that admission prices here are "suggested," which means it's by donation. You have to give something to get in, but you can decide how much.

LMN Architects in front of their project, the renovated Seattle Asian Art Museum. Credit: JiaYing Grygiel

I know this, because in a previous life I worked at the museum's front desk. I loved my job. Visitors who came in the door were always relaxed and genuinely happy to be there. Volunteer Park is so peaceful and the Seattle Asian Art Museum is such a jewel that it's just hard to be grumpy there.

The museum's building is the original home of the Seattle Art Museum (which is now spread across three locations in the city). The 87-year-old Art Deco building needed things such as seismic retrofitting, climate control and updated electrical to be done. The exterior was bumped out to add a freight elevator and a 2,650-square-foot special exhibition gallery.

SAAM's Color in Clay gallery, where the ceramic pieces are intentionally uncaptioned. Credit: JiaYing Grygiel

Visiting with kids

You will definitely want to bring the family to check out this renovated museum. Here's how I'd do it:

Wait a few weeks to bring the kids, so that the hullabaloo can die down. As for opening weekend, I don't know where 10,000 people are going to park (there's a handful of free parking spots in front of the museum) and I don't want to think about 10,000 people using the one restroom.

The Seattle Asian Art Museum I love is a serene gem in the oasis of Volunteer Park. I'd pick a weekday morning, when I know the museum will be quiet, and when the weather is decent so you can combine a museum outing with playground time. There's an excellent playground in Volunteer Park, plus the beautiful Volunteer Park Conservatory is just down the drive.

SAAM sits in the serene surroundings of Seattle's Volunteer Park. Credit: JiaYing Grygiel

SAAM's new features

So, what is new and different at the museum? A lot of that $56 million got spent on stuff you can't see, such as structural and mechanical upgrades. There's a somewhat controversial glass-enclosed addition jutting out the back of the building, intended to more closely connect the museum with the surrounding park.

Downstairs, you can peek into the new Asian paintings conservation lab, the first of its kind on the West Coast.

Floor-to-ceiling windows in the new addition at the rear of the museum provide a view of the park. Credit: JiaYing Grygiel

I overheard a woman in the lobby tell her friend she was going to look for "the ladies' room," and her friend leaned in to correct her: There's just one all-gender restroom for everyone, with multiple stalls. At least the individual stall doors are pretty tall.

I was really disappointed that the children's play room, which used to cap off one wing of the building's main floor, is now a meditation room featuring three large Buddhas. I get that young families aren't the only people who visit the museum, but it was awfully nice to have a little break room that was always stocked with dress-up clothes, puppets and books for kids.

In the galleries

Inside the galleries, there are a few nods to the youngest visitors. We found some shapes on a table to arrange into faces, set in view of a bright round flower painting. We tried to play a somewhat glitchy game where you can strike poses to match the hand positions of some of the museum's statues.

Japanese firefighter's quilted coat from the 19th century with rabbits pounding mochi on the back. Credit: JiaYing Grygiel

What's unusual about the galleries is that the art isn't organized by country or time period, but by broad themes, such as "divine bodies" and "color and play." You'll see contemporary objects plunked next to really old stuff, a little hodge-podgy but fun to look at. Explore the galleries and you'll discover all kinds of neat treasures. Here's a few that caught our attention:

Tiny Japanese netsuke in funny shapes: three puppies, a cow and her calf, a dog scratching its neck.

A fireman's quilted coat from 19th century Japan, featuring rabbits pounding mochi on the back.

An ultra-modern, bright orange bull made of plastic. (It's Nandi, the sacred bull that's a vehicle of the Hindu god Shiva.)

A Guanyin from 16th century China with 11 heads!

Thousand-armed, 11-headed Guanyin from 16th century China. Credit: JiaYing Grygiel

There's a new education lab downstairs that will be an open drop-in studio that's available to visiting families any time a school group isn't using it. When we visited on a preview day, the room was still pristine. "It'll never be this quiet, it'll never be this clean," said Regan Pro, the museum's deputy director of education and public engagement. "And that's glorious."

The brand-new education lab at SAAM. Credit: JiaYing Grygiel

And one more piece of terrific news for kids: All public school field trips to the Seattle Asian Art Museum - each of SAM's three sites, actually - are now free. For Title 1 schools, where a high percentage of the students live in low-income households, that even includes free transportation. Way to go, SAM!

If you go...

Find it: Seattle Asian Art Museum is located at 1400 E. Prospect St., in Seattle's Volunteer Park.

When: After its three-year closure and renovation, the museum reopens to the public with a free open house, Saturday-Sunday, Feb. 8-9. Note that all opening weekend tickets have been claimed. Walk-ups will not get in, though there is a free outdoor ribbon cutting ceremony.

Ribbon-cutting: The public is invited to a free, outdoor ribbon-cutting ceremony on the front steps of the museum Saturday, Feb. 8, 8:30-9 a.m. Expect remarks by Chief Sealth descendant Ken Workman, Congresswoman Pramila Jayapal and others, and a lion dance performance.

Hours: Regular hours begin Wednesday, Feb. 12, 2020. The museum is open Wednesday, Friday and Sunday, 10 a.m.-5 p.m.; Thursday, 10 a.m.-9 p.m.; and Saturday, 9 a.m.-5 p.m. It's closed Monday and Tuesday.

Admission: Adults are $14.99; teens ages 15-18 and students with ID are $9.99; youth ages 14 and younger get in free. These are the museum's suggested prices, which means you can give any other amount, more or less, for your entry donation.

Free days: First and second Thursdays and first Saturdays of each month.

Parking: Free in Volunteer Park

Parents should know: The museum is fully accessible. You can bring a snack and eat it in the courtyard; no food is allowed in the galleries. There isn't any food for purchase on site. The nearest place to eat is the wonderful Volunteer Park Cafe, located two blocks outside the park. ( It's up for sale!)
More to do in Volunteer Park:

Play at the playground, which you'll find about 300 yards to the north of the museum.

Visit the lush Volunteer Park Conservatory.

Climb the Volunteer Park water tower.

Spy the Space Needle through "Black Sun," the 1969 sculpture by Isamu Noguchi.

Strike a pose by of one of SAAM's regal Bactrian camels.

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Revamped and Beautiful Seattle Asian Art Museum: Take the Kids?

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An inside scoop on the family-friendly features at the newly renovated Seattle Asian Art Museum.

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Imaginative Portraits Lesson Plan with Standards

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Imaginative Portraits Lesson Plan with Standards

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Includes embedded videos. This document can be copied and altered for classroom use.

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Includes embedded videos. This document can be copied and altered for classroom use.

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https://www.youtube.com/watch?v=bsX4UvPzp-c&list=PLDFX-IVwOcY_xz2t0N3biV4ko9TkTnEwM&index=4

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Bewitched #2 Seoul (detail) 2001, Jung Yeondoo, C-print photograph. 62 5/8 × 51 9/16 in. (159.1 × 131 cm) Purchased with funds from the Estate of Rosa Ayer

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Bewitched #2 Seoul (detail) 2001, Jung Yeondoo, C-print photograph. 62 5/8 × 51 9/16 in. (159.1 × 131 cm) Purchased with funds from the Estate of Rosa Ayer

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Bewitched #2 Seoul (detail) 2001, Jung Yeondoo, C-print photograph. 62 5/8 × 51 9/16 in. (159.1 × 131 cm) Purchased with funds from the Estate of Rosa Ayer

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Perek (woman’s headdress), 20th century, lambswool, fiber, turquoise, mother-of-pearl, coral, glass, dze beads, brass, India, Leh region, Ladakh, Bequest of Fra

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Lined robe, early 20th century, plain weave silk crepe with paste resist stencil decoration (bingata), Japan, Meiji period (1868–1912) or Taisho period (1912–19

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Fichu (Shawl), 19th century, Pina (pineapple fiber) cloth, Philippines, Eugene Fuller Memorial Collection, 33.261

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Upload photos of student work, to inspire other teachers and students :)

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Share these slides with your colleagues, chaperones, and/or students to prepare for the different components of the guided tour experience: arrival, docent-led tour, and teaching artist-led art workshop.

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https://www.youtube.com/watch?v=ICEpiS72xNs&list=PLDFX-IVwOcY_xz2t0N3biV4ko9TkTnEwM&index=5

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https://www.youtube.com/watch?v=eEqGt5os1B8

Share this video with your students to prepare for the different components of the guided tour experience: arrival, docent-led tour, and teaching artist-led art workshop!

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School Tours: How to Visit SAM (Español dub)

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School Tours: How to Visit SAM (Vietnamese dub)

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Feel free to share the information in this handout with fellow teachers, students, and chaperones before your field trip.

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Seattle Asian Art Museum Smartphone Tour

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Seattle Asian Art Museum Smartphone Tour

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https://www1.seattleartmuseum.org/tours/saam

Please note: this resources is optimized for smartphone use.

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Seattle Asian Art Museum Visitor Information

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Seattle Asian Art Museum Visitor Information

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https://seattleartmuseum.org/visit/seattle-asian-art-museum

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School Programs & Tours
schooltours@seattleartmuseum.org

Educator Programs & Resources educatorprograms@seattleartmuseum.org

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https://linktr.ee/sameducators

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June 24-26 | Exploring Asian Art: Storytelling, Identity, and Spirituality

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Section of a story scroll of sage Bhavana (Bhavana Rishi Mahatmyan Patam), ca. 1843, Indian, opaque watercolor on cloth, 58 x 34 1/4 in., Gift of Leo S. Figiel

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Email EducatorPrograms@seattleartmuseum.org 2 weeks before your visit to reserve a free educator pass for you and up to 3 guests.

Please have a date in mind before reaching out to us.

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https://samblog.seattleartmuseum.org

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https://art.seattleartmuseum.org/

Use keywords to search for an image from SAM's collection.

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The Seattle Art Museum’s growing collection contains over 25,000 works of art from around the world. Dating from antiquity to the present, the permanent collection represents a wide range of global cultures and historical perspectives. Begin exploring just some of the collection highlights below.

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https://seattleartmuseum.org/learn/learning-resources

Browse lesson plans, videos, and more for K-12 students.

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https://seattleartmuseum.org/whats-on/audiences/for-schools-and-educators

Information on school tours, educator programs, school partnerships, and more!

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https://samblog.seattleartmuseum.org/2020/09/story-scroll/

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Red is often associated with strong emotion, and not only anger, despite the name of a common red dye source: madder root.

A mid-18th century painting of Ganesh on cloth, from a village in Telangana, in the eastern Deccan plateau of India, is striking in part for its red background and red-bodied Ganesh. Painted with black outlines, with areas of yellow ochre, indigo, and white, it is enlivened with black and red dots. As Lord of Beginnings, this Ganesh was the initial image in a long vertical scroll of painted scenes, unrolled one section at a time in performances for a regional weaver community. The scroll, of which this is a section, would have originally been 30 to 50 feet long and depicted their origins from the celestial weaver Sage Bhavana. This ancestor fought off a giant demon weaver, and then created colors for the community's use from its dead body-a scene depicted in the final image of the scroll also in SAM's collection.

The red of this painting may be from madder root-a dye from three species of the madder plant family that grows in areas of each continent. The few remaining painters of this Telangana tradition now use a ready-made ground red stone, but say that vegetable dyes were used previously.

At the time of this painting (ca. 1843), three red insect dyes were also available in India: lac from Southeast Asia, kermes (carmine) from an Asian beetle, and cochineal imported from the Americas. The insect pigments could produce deep reds, but kermes and cochineal faded quickly. These expensive reds required an enormous quantity of insects, as well. Madder was more available and inexpensive, more lightfast, and could produce many shades of red. A warm orange-red is perhaps the most common, with pinks and purples also possible. Madder root contains so many colors-five different reds, blues, yellow, and brown-that its dye produces a complexity not possible with synthetic dyes. It did, however, require special knowledge to make the dye and adjust the process for different shades.

Of the five red dye components in madder root, alizarin is primary, and was not created synthetically until 1869-long after several synthetic blues, greens, and yellows. Madder root eventually fell out of cultivation, and since then has been used in artisanal dyeing.

The process for creating the strong lightfast red developed in India (using a few unpleasant and smelly substances) was one of the most complex dyeing processes ever. A version known to Ottoman court painters was kept secret for several centuries.

To learn more about the history of dyes, pigments, and color in Asian art, the Gardner Center Saturday University series, Color in Asian Art: Material and Meaning, begins on October 3 with a talk by Jennifer Stager on the subject of a red pigment of the ancient world, titled " Dragon's Blood or the Blood of Dragons."

- Sarah Loudon, Director, Gardner Center for Asian Art and Ideas

Da Fonseca, Anais. "Replication and Innovation in the Folk Narratives of Telangana." ScholarlyCommons, 2019.
Finlay, Victoria. Color: A Natural History of the Palette. New York: Random House, 2002.
Pavani, N. and D. Ratna Kumari. "History of Telangana Cheriyal Paintings." International Journal of Home Science 2019: 5(2): 461-64.

Image: Section of a story scroll of sage Bhavana (Bhavana Rishi Mahatmyan Patam), ca. 1843, Indian, opaque watercolor on cloth, 58 x 34 1/4 in., Gift of Leo S. Figiel, M.D., Detroit, Michigan, 76.41

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Object of the Week: Story Scroll - SAMBlog

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Red is often associated with strong emotion, and not only anger, despite the name of a common red dye source: madder root. A mid-18th century painting of Ganesh on cloth, from a village in Telangana, in the eastern Deccan plateau of India, is striking in part for its red background and red-bodied Ganesh.

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In honor of Women's History Month, Object of the Week will-throughout the month of March-highlight works by women artists in the SAM Collection.
Though its surface appears to be seamless, Park Young-sook's Moon Jar is actually made from joining two halves in the heat of the kiln. The process dates back to the Choson period (1392-1910) in Korea, when spherical porcelain moon jars decorated the imperial court and the homes of the nobility. In alignment with the Choson royalty's Confucian practices, the simplicity of these jars symbolized purity and austerity.[1] Through integrating the techniques of this period, Park has created her own moon jars, which infuse the traditional ceramic form with her own contemporary artistic vision.

In addition to referencing imperial tradition, Moon Jar also reflects Park's upbringing. She grew up near Bulguksa, a historic Buddhist temple. "If you dig just inches into the ground, the earth was full of ancient ceramics," she discusses in a 2016 interview. "Bulguksa was my childhood playground. As a child, I'd explore all the ancient histories that surrounded me, which had an enormous impact on who I was to become."[2] While studying those histories and experimenting with materials as an emerging ceramicist, she connected with mentors in the field. She cites their guidance as essential to the creation of her world-renowned moon jars.

Though Park honors the Choson vessels of the past, Moon Jar is not an exact recreation. She spent years developing her practice and choice of materials in order to produce jars that are more elongated with thinner walls. Drawn from specific deposits to produce the desired white hue of her jars, the clay she uses takes six to 10 years to mature. She is also highly attentive to conditions in the kiln, monitoring aspects such as air flow and variations in temperature. Owning and operating her own kiln since 1982, Park has carefully perfected her methods.

However, she speaks frankly about the precarious undertaking of creating a single moon jar, even when everything is done correctly. Nine out of ten jars will not survive in the high temperatures of the kiln due to splitting or collapsing. As a finished product, Moon Jar appears effortless in its resemblance to the full moon. Though unseen, the immense amount of labor and history that undergirds the work only adds to its luminosity. This work is not currently on view but it will be exhibited when the Seattle Asian Art Museum reopens in late 2019.

- Yaoyao Liu, Museum Educator

[1] Lee, Soyoung, "In Pursuit of White: Porcelain in the Joseon Dynasty, 1392-1910," Heilbrunn Timeline of Art History, October 2004, http://www.metmuseum.org/toah/hd/chpo/hd_chpo.htm.

[2] Kim, Hong Nam. "A Conversation With the Artist Young Sook Park in Her Studio, A White Porcelain Story," July 29, 2016, http://www.yspceramicart.com/interview/2016/7/29/u8ic37xwa0djfi2qvct8jic2hs51h6.

Image: Moon Jar, 2007, Park Young-sook, porcelain with clear glaze, 20 x 19 1/2in., Gift of Frank S. Bayley III, in honor of the 75th Anniversary of the Seattle Art Museum, 2007.86 © Young Sook Park

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Object of the Week: Moon Jar - SAM Stories

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In honor of Women's History Month, Object of the Week will-throughout the month of March-highlight works by women artists in the SAM Collection. Though its surface appears to be seamless, Park Young-sook's Moon Jar is actually made from joining two halves in the heat of the kiln.

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Young Sook PARK b. 1947 | Making a Moon Jar

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Young Sook PARK b. 1947 | Making a Moon Jar

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Young Sook Park b. 1947 | Making A Moon Jar

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Bulul couple (rice deities), 19th century, Northern Luzon, Ifugao, Northern Luzon, wood, wire, natural deposits, Gift of Georgia Schwartz Sales, 2005.181-2

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(fig 1): Tomb guardian, late 7th century, Earthenware with glaze, gilt, and paint, 27 1/2 x 11 x 10 5/8 in. (69.85 x 27.94 x 26.99 cm), Eugene Fuller Memorial Collection, 35.6 (fig 2): Tomb guardian, 6th - 9th century, Earthenware with paint, 36 1/4 x 9 1/2 x 9 in. (92.08 x 24.13 x 22.86 cm) Overall h.: 40 5/8 in., Eugene Fuller Memorial Collection, 35.3.2 (fig 3): Tomb guardian of Lokapala, 8th - 9th century, Earthenware with paint, 35 7/8 x 18 1/2 x 6 7/8 in. (91.12 x 46.99 x 17.46 cm) Overall h.: 45 3/8 in., Eugene Fuller Memorial Collection, 43.5 (fig 4): Tomb guardian, 6th - 9th century, Earthenware with paint, 37 1/2 x 12 x 8 in. (95.25 x 30.48 x 20.32 cm) Overall h.: 41 1/4 in., Eugene Fuller Memorial Collection, 35.3.1

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(fig 1): Water-Moon Guanyin, 10th - late 13th century, Wood with lacquer, gesso, polychrome and gilding, 64 x 36 x 30 in. (162.56 x 91.44 x 76.2 cm), Eugene Fuller Memorial Collection, 35.17 (fig 2): Attendant to Guanyin, 16th - 17th century, Wood, polychrome, gilt, Overall: 29 1/2 × 16 × 11 in. (74.9 × 40.6 × 27.9 cm) Figure: 25 1/2 × 13 1/2 × 9 1/2 in. (64.8 × 34.3 × 24.1 cm) , Eugene Fuller Memorial Collection, 48.53

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Tour Stop: Water-Moon Guanyin & Attendant to Guanyin

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Tour Stop: Water-Moon Guanyin & Attendant to Guanyin

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https://www.wingluke.org/anti-asian-american-hate-crimes

SEATTLE ASIAN AMERICAN NATIVE HAWAIIAN/PACIFIC ISLANDER WOMEN ARTISTS UNITED is a visual campaign to fight the tide of anti-Asian violence and xenophobia. In 2021 anti-Asian hate crimes across 16 major US cities spiked by 342% (according to a report from the Center for the Study of Hate & Extremism at CSU, San Bernardino.) This alarming statistic coupled with the waning media coverage of hate crimes against Asian Americans, we feel the urgency now more than ever to boost awareness and spur empowerment.

A series of posters were created containing positive messaging like WE BELONG HERE, RESPECT BELOVED COMMUNITY and PROTECT EACH OTHER, with original artwork by seven local celebrated AA+NHPI women artists (Diem Chau, Erin Shigaki, Juliana Kang Robinson, Julie Kim, Raychelle Duazo, Saiyare Refaei and Saya Moriyasu). The campaign aims to raise awareness, beautify streetscapes, and uplift Seattle’s AA+NHPI community.

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Celebrating Community: Families Participate in Collaborative Murals at the Seattle Asian Art Museum - SAMBlog (seattleartmuseum.org)

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Family Saturdays at the Seattle Asian Art Museum connect families with artists, authors, and performers, through art-making and other programming that celebrates Asian art and culture. As we celebrate Asian American Pacific Islander and Native Hawaiian Heritage Month in May, SAM would like to thank all of the families and community members who amplified the BEAUTY OF US visual campaign and contributed to the three collaborative murals displayed in the museum's Community Gallery.

In 2021, anti-Asian hate crimes across 16 major US cities spiked by 342%. This alarming statistic, coupled with the waning media coverage of hate crimes against Asian Americans, inspired artists Erin Shigaki, Juliana Kang Robinson, and Saya Moriyasu to come together to create BEAUTY OF US, a visual campaign aimed at boosting awareness of anti-Asian violence in Seattle and beyond.

The three artists collaborated with four additional Asian American, Native Hawaiian, and Pacific Islander women artists in Seattle-Diem Chau, Julie Kim, Raychelle Duazo, and Saiyare Refaei-to create original artworks that were printed on posters and distributed throughout the city. With their bright colors and positive messaging, the artworks raise awareness, beautify streetscapes, and uplift Seattle's AA+NHPI community.

Inspired by the BEAUTY OF US, SAM Educators partnered with featured artists Juliana Kang Robinson, Julie Kim, and Raychelle Duazo to design three unique murals in the Seattle Asian Art Museum's Community Gallery that invited community collaboration. Over the course of three Family Saturdays at the museum, families learned about and celebrated their cultural heritage by contributing to the murals. Now completed, these murals represent a proud statement of community and healing where children, families, and friends connected and collaborated over collective art-making experiences.

Following their display in the Community Gallery through Sunday, May 21, the murals will be moved and displayed indefinitely in SAM's Education Studio.

Read on to learn more about each of the three community murals, then participate in an art project with family and friends by clicking on the resources linked below.

Kaleidoscope Stories Community Mural
Julie Kim and Families
Mixed media on illustration board

Julie Kim is a children's storybook artist and author who is deeply interested in stories that arise from our personal lived experiences, and in myths and folktales that arise from our collective human experience. This mural is a snapshot of those stories, big and small, as told by our community members in patches of obangsaek tiles-the five directional colors in Korean-that describe wholeness and balance through inherent and necessary diversity. Create your own story tile here with guidance from Julie's illustrated instructions.

No One Like You Community Mural
Raychelle Duazo and Families
Mixed media acrylics on paper

Raychelle Duazo is a queer femme Filipina-American illustrator and tattoo artist based in Seattle. She aims to combine dreamy aesthetics, vibrant colors, and cultural significance to her work through themes of identity, queerness, language, symbolism, love, transformative grief, and Filipino culture. This mural of two figures captures the importance of identity and individuality in body art. Contributing families added pops of color while learning the Tagalog words for jasmine, the Philippine national flower (sampaguita), carabao (kalabaw), butterfly (paruparo), shell (kabibi), and crocodile (buwaya).Click the links above to access a coloring sheet of each of the tattoo designs featured on the mural.

Year of the Rabbit Community Mural
Juliana Kang Robinson and Families
Mixed media on illustration board

Juliana Kang Robinson is an interdisciplinary artist creating work that draws from Korean art traditions and culture. Participating families created pojagi (the Korean word for patchwork) with mixed media prints and drawings that were collaged on mounds in celebration of Lunar New Year. Click here to create your own origami bunny pocket designed by Julie Kim and inspired by the stories that celebrate the year of the rabbit.
- Nani Trias, SAM Educator for Family Programs
Photos: Alborz Kamalizad.

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Celebrating Community: Families Collaborate on Murals at the Seattle Asian Art Museum - SAMBlog

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Family Saturdays at the Seattle Asian Art Museum connect families with artists, authors, and performers, through art-making and other programming that celebrates Asian art and culture. As we celebrate Asian American Pacific Islander and Native Hawaiian Heritage Month in May, SAM would like to thank all of the families and community members who amplified the BEAUTY ...

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University of Washington: East Asia Resource Center

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University of Washington: East Asia Resource Center

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https://jsis.washington.edu/earc/

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Sign up for emails to get the scoop on new seminars, workshops and other opportunities.

Providing K-12 educators with opportunities to deepen their knowledge of East Asia since 1971

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East Asia Resource Center - Jackson School of International Studies

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Providing K-12 educators with opportunities at the University of Washington since 1971 to deepen their knowledge of East Asia.