Montana
Benjamin Claire Sams was born in 1945 in Gainesville, Texas where his father, Claire, was stationed. The family soon returned to Montana. Claire was Dutch and Native American. He was a member of the Walla Walla Tribe. Sam’s great grandfather, 5th removed, Peo Peo Mox Mox (Yellow Bird) was Head Chief of the Walla Walla Tribe and Great Chief of the Walla Walla Nation. As a boy, Sams often visited the tribal reservation in Umatilla. His mother, Mary, was Polish. Mary and Claire divorced when he was five.
In 1965, after a year at Oberlin College, Sams transferred to the University of Montana where he studied printmaking with Donald Bunce and ceramics with Rudy Autio and informally with Peter Voulkos.
In 1967, Sams married Dana Boussard, a fellow art student. He enlisted in the army in 1968 but received a medical discharge a few months later.
Sams was a prodigious student. He received a substantial grant from the University for a large construction and a commission from the campus Newman Center for a relief figure for the exterior of its building.
“Then, during 1965-66 I began to understand building with slabs of clay, which was directly derived from Rudy Autio's abstract slab idea. I wanted to maintain the vitality of the abstract, yet add definite, recognizable figurative modeling to the forms. . . .”
From a letter to LaMar Harrington quoted in her book, Ceramics in the Pacific Northwest: A History. Page 103.
(La Mar Harrington)
“An opportunity is presented to create a personal visual narrative using tactile vocabulary in clay starting with abstraction, moving through textured patterns towards a motif that is personified, characterized, and finalized with a modeled anatomical personality.”
Sams had exhibitions in Claremont, California and Seattle by the time he received his BFA degree in 1967. The exhibition in Seattle nearly sold out. By the time he received his MFA degree in 1970, he had exhibited in New York, Louisiana, and again in California and Washington.
Shortly after leaving advanced training at Fort Ord, California in February 1969, I was lucky to arrange a show at the California Palace of the Legion of Honor, which is one of the three large museums in San Francisco. The show was held in May,1969 and contained 90 pieces (all under 22" tall). During the month showing I received four invitations from museums for shows because of a museum convention held at the Palace. Two of these were finalized and one show of 50 works is at the Louisiana Arts and Science Center in Baton Rouge until mid-March; and the other, a show of 15 larger pieces.at the Memorial Union Gallery, Davis, California, until March 24th. A third batch of work (30 pieces) was sent to Gimbels Department Store in New York to become part of their Spring 1970 Art Stock. . . . Currently I am working on a show that will go up this Mother's Day at the Richard White Gallery in Seattle. Needless to say I have been busy and hope to take some rest this summer. . . .
(Grant Proposal, 1970)
Soon after their graduation in 1970, Dana and Sams had exhibits in Seattle, Portland, and Minnesota.
Selections from 1967-72
( Images may be enlrged by clicking on them.)
In what may be viewed as an artistic rebellion, and to the dismay and displeasure of some of the Art Department’s faculty, Sams and some fellow students produced art with a social message protesting war and satirizing the establishment.
Selections from 1969-71
Washington
1972 was a dramatic turning point for Sams. Dana and he separated, and he left for Seattle, Washington. They divorced later.
In 1973, Sams worked frantically, arranging and preparing for several exhibitions as well as teaching at Highline Community College. He wrote to a friend:
“I almost killed myself with no sleep and worry over my projects.”
In 1974, he taught at The Evergreen State College in Olympia.
Sams married Cynthia Tasso in 1975. They moved to Snohomish, not far from Seattle, where he set up a studio in a huge historic barn. A new phase of his art emerged.
Selections from 1972-78
Most surprisingly, and not long after a critically acclaimed show at the Gail Chase gallery in Bellevue, Washington in 1978, Sams abandoned the professional art world. Those who knew him were stunned and disappointed, especially gallery owners. A large number of artworks were left unfinished.
Although he continued to teach weekly ceramics classes at the Seward Park Clay Studio, Sams became a real estate agent and investor. In 1980, he wrote:
I don’t know if things have slowed down any concerning my ideas and struggles with the properties I’m managing. I think I am beginning to get used to the kind of actions that happen; and I’m developing thicker skin to the problem areas. I wish that my financial ideas worked more smoothly so that I could become less greedy in my pursuit for money to make the payments. I suppose that too will cure itself with time.
This new year looks to be the best to come along for us since Cynthia + I met. I am looking forward to it.
(Note to Rober Dale, 1980)
In 1995, a major flood devastated the their property.
We’ve been BADLY hit by floods—did about $30,000 damage + gov’t is only allocating @$2,000. Took out our concrete restraining wall + big trees + shrubs. There’s a pit there about 20’ deep and over 100’ long, + no other help from other gov’t agencies. Last night we were out in freezing winds + snow wrapping out water pipes which were exposed. We had to be helicoptered out— this flood was FAR worse than the ‘75 flood. We are in a pretty desperate mess, of damage to garage, art bldgs, house foundation, roof, + car + truck, etc., etc. Thanks for thinking of us. These are holidays we won’t soon forget.
We’re sitting ducks for next flood—no protection + can’t yet afford to fill hole etc.
(Christmas Note, 1995)
The adventure in restarting my ceramic works has uncovered a vast amount of old unfinished projects and half-started projects and damaged work from accidents & earthquakes. Taking the time to learn to slow-down and finish the projects is a new challenge.
I need to remind myself that I’m in a much different and better economic condition now and don’t need to turn myself inside out for survival sales or exhibit commitments that drove me into strange gallery commitments 20 years ago. This can be the work and study of process and love of materials and thoughts. Even as I recover from some chronic heart problems I feel that I can do whatever is required in the studio to make this successful.
2002
On June 9th, not three weeks after his journal note, Sams suffered catastrophic heart failure, dying instantly on a favorite beach with Cynthia and their dog, Jessie, at his side. He was 57.
The six vases are the last pieces he finished.