From The Current, 2019 to Now

“The only lasting truth is change.” Octavia Butler 

 

As we enter the fourth year of The Current, An Artist Award (and in the spirit of my very first curatorial project that kicked off The Current) I’d like to illustrate progress through some of TAM’s recent acquisitions of work by Black artists.
In this line of work, acquisitions can dramatically indicate a shift in institutional values and collecting practices. I believe that acquisitions help tell the story of a collection’s progress and how we stay committed to expanding it with outstanding artworks by artists who are historically underrepresented in it.
A shared understanding of language is important in what we will discuss, so let’s get some cursory definitions of a few art terms out of the way.

What is an acquisition? 

An acquisition is defined as an asset or object bought or obtained (acquired), by museums (or libraries).

TAM’s permanent collection has mostly relied on gifts from collectors and the museum has only recently had funds to purchase works. Acquisitions can also be acquired from artists, foundations, auction houses, etc. Similarly, a bequest is a personal asset or gift that museums can receive when an individual passes-from either the individual, the individual’s family, or those close to them.

There are collecting policies and practices instituted that guide decisions we make when considering gifts. Known as a Collections Plan, this outlines our goals for collecting and expanding the permanent collection.

---

In 2019, there were 88 works created by Black artists within TAM’s collection. As of 2025, there are 101 works by Black artists in TAM’s permanent collection. While progress is slow to change, our efforts and dedication to continually expand the collection to fully reflect the diverse voices of our region is ever present in our work and is one of our curatorial goals. Museums cannot have an accurate, full picture of art history if there is an absence of Black art. I am excited for the ways The Current will support this curatorial goal, as The Current exists to elevate the visibility and expand the narrative of Black artists and art in the Pacific Northwest.

In the coming month, The Current Collaborative Committee and I will share our thoughts and perspectives on the work shared in this post in The Current Corner Videos. If you are interested in learning more about these works, please stay tuned!

I am excited to share five of our recent acquisitions of work by Black artists:

Elizabeth Catlett
Danys y Liethis
2005, Offset Lithograph
Gift of John O’Leary

Carrie Mae Weems
Untitled (Box Spring in Tree) from the series Sea Island
1992 (Printed in 2005)
Gelatin Silver Print
Gift of John O’Leary

Carrie Mae Weems
MJB, Reflection
2017-2020
Fujiflex on Alucobond
Gift of John O’Leary

Carrie Mae Weems
Not Manet’s Type
2001
Offset Lithograph
Gift of John O’Leary

Jacob Lawrence
The Studio
1996
Lithograph on paper
From the collection of Stephen Roy Lindstrom and donated by Christina Lindstrom Bridston

Among the works highlighted, The Studio by Jacob Lawrence was donated by Christina Lindstrom Bridston from the collection of Stephen Roy Lindstrom. John O’Leary has also gifted Elizabeth Catlett’s Danys y Liethis, Carrie Mae Weems’ Reflection Not Manet’s, and Untitled (Box Spring in Tree) from the series Sea Island. These new acquisitions by Weems join with her work Untitled (Woman and Daughter with Make-up) from the Kitchen Table Series, an iconic work from an iconic series (one of my favorite works in our permanent collection). These works allow us to more fully narrate Black artists achievements and influence in the Pacific Northwest, and in the art canon.