SUMMER 2024
image credits: Ed Mell, Camelback Mountain , not dated. Lithograph. Gift of Dr. Kathleen A. Handal. (cover ): Ed Mell, Sweeping Clouds , 1989. Oil on canvas. Museum purchase with funds from anonymous donors.
IN
MEMORY
OF Ed Mell
1942-2024
Ed’s imagination rioted against the flat earth and soared past glass towers and developed into thunderheads, taking the sky hostage, seeking landscapes that collided and merged with ecstatic upswellings that sprouted into the sky.
Marc Cavness
LONGTIME FRIEND OF THE ARTIST, MEN’S ARTS COUNCIL
IN MEMORIAM ON P. 33
Jeremy
contributing
Colin
Consultant
Nikki
Deputy
Betsy
Adjunct
Helen
The
Olga
The
Rachel
2023–2024
BOARD OF TRUSTEES
CHAIR
Donald Opatrny
VICE CHAIRS
David Lenhardt
Blair J. Portigal
SECRETARY
Carl Thoma
TREASURER
Blair J. Portigal
Ruben E. Alvarez
Alice Bazlen
Drew M. Brown*
Joel Coen
Mike Cohn
Andrew Cooper
Gloria P. Cowen
Jacquie Dorrance*
Carter Emerson
Robert Faver
Michele M. Feeney
Martin R. Galbut
Eric Garcia
Judy Goldberg
Sara T. Gordon
John W. Graham
Michael Greenbaum*
Lila Harnett*
Oliver Harper, MD
John Horseman
Barbara Noble Howard
Jon Hulburd
Jane Jozoff
Ellen Katz*
Don Kile
Sally Lehmann
Mitch Menchaca**
Bettina Nava
Ann M. Ocaña
Sally A. Odegard
Doris Ong
Rose Papp
Terry Roman
Jordan Rose
Vanessa Ruiz
Ann Siner
Iris C. Singer
Rob Taylor
*Honorary Trustee
**Ex-Officio
Dear Friends,
Iowa had Grant Wood. Missouri had Thomas Hart Benton. Kansas had John Steuart Curry. This great triumvirate of Regionalist painters defined post-war American art and aided in developing the modern art movement in the United States. Wood, Benton, and Curry prevailed as the great recorders of their time, visually defining the social, economic, and vibrant natural landscape of America’s heartlands. They were confident and impactful in their ability to realize place and people, creating works like American Gothic, A Social History of the State of Missouri, and Baptism in Kansas that continue to persist.
Fast forward to contemporary times, and following in the ideals of the great triumvirate, a group of artists have remained true to a Regionalist tradition, dedicating their practice to capturing the beauty, anguish, mystery, and evolution of a place. For Arizona, there is no other than the late Ed Mell. This edition of PhxArt Magazine is dedicated to a great artist and Museum friend who brought a modern, majestic desert landscape to the masses. Following in the footsteps of Wood, Benton, and Curry—and more regionally, the incomparable Maynard Dixon—Mell created a distinct style capturing the skies, mountains, and flora of a Modern West that is forever engraved in our visual understanding of life among and within the Colorado Plateau and the Sonoran Desert. May Ed Mell’s legacy live on in the stark beauty of his works on view and in the stewardship of Phoenix Art Museum, for generations of museumgoers.
As I begin my third year as the Sybil Harrington Director and CEO, I am continually reassured and inspired by the people—past and present—who make our museum the great institution it is today. We kicked off our 65th anniversary celebration in April with The pARTy in the Garden and The afterpARTy. The evening included dinner under the sapphire sky in the Dorrance Sculpture Garden with many honored guests, special remarks from Phoenix Mayor Kate Gallego, a declaration of a significant gift from longtime Museum supporters Kelly and Steve Ellman, a birthday cake and sparklers, and late-night fanfare, all in pink. Looking forward, this summer we are excited to share our new Strategic Plan with the public, announce our forthcoming blockbuster season, and unveil a large, new site-responsive commission by a globally respected artist. The commission will be installed as part of the renovation
and reinstallation of our contemporary and modern art galleries after nearly 20 years. We hope Phoenix Art Museum is a highlight of your summer plans, offering unique and exciting experiences as the heat creeps upon us. We have incredible exhibitions on view, including the wildly popular Barbie ® : A Cultural Icon Exhibition and The Power of Pink, as well as the critically acclaimed Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s. We are also excited to open Larry Bell: Improvisations, which showcases the artistic achievements and career of one of the most influential artists to emerge from the Light and Space movement. For those looking for deeper engagements, please visit phxart.org for the latest calendar of films, lectures, family programming, and more.
I look forward to seeing you in the galleries soon. Your support and presence are invaluable to us. In the meantime, please enjoy reading the summer issue of PhxArt Magazine.
With gratitude,
Jeremy Mikolajczak
the sybil harrington director + ceo phoenix art museum
Museum News
Halle Foundation Funds
Title-I School Trips + More
Phoenix Art Museum received a generous gift from the Diane & Bruce Halle Foundation to support access to the arts for Title-I schools. Funding supports free admission to Phoenix Art Museum for all Title-I student groups and their teachers and chaperones, including subsidized transportation and curriculum-based, Docent-led tours of specialengagement exhibitions and art installations.
The gift also supports increasing access to the Museum for students’ families and friends. All Title-I students who visit the Museum as part of a school tour are now sent home with a one-time-use voucher, which enables them to return to the Museum with up to five individuals to share in the experience.
Ellman Foundation + PhxArt
Strengthen
Commitment to Fashion
Today, Phoenix Art Museum is one of few art museums in the United States that continually collects, preserves, and exhibits works of fashion. Now, with a new major gift from the Ellman Foundation and longtime Museum supporters and former Board Trustees Kelly and Steve Ellman, the Museum is poised to deepen its commitment to and investment in the exhibition and preservation of the institution’s renowned fashion collection and exhibition program. In October 2024, PhxArt will unveil the expanded Kelly Ellman Fashion Galleries, dedicated solely to the exhibition of fashion.
The endowed space will span all three galleries across the Museum’s south wing mezzanine. The gift also supports future fashion exhibitions through the Kelly Ellman Fashion Endowment Fund, the establishment of the Ellman Fashion Program Fellow position, the early phases of a Fashion Collection digitization project, a collection publication published by SCALA Arts & Heritage Publishers, and fashion-related acquisitions.
PHXART WELCOMES NEW BOARD MEMBERS
PhxArt shares the appointment of three community and business leaders to the Museum’s Board of Trustees: Mike Cohn, founder and Area President of Cohn Financial Group; Iris C. Singer, collector and philanthropist; and Eric Garcia, Owner and Partner of ONAdvertising.
At Cohn Financial Group, a division of Arthur J. Gallagher & Co., Cohn leads the law firm practice group for Gallagher throughout the U.S., focusing on non-qualified retirement and investment solutions for AmLaw 100 firms. Cohn and his wife, Lee, have been contemporary art collectors and PhxArt supporters for many years, and he returns to the Board after serving on the governing body from 2012-2016, including as Board Chair.
Iris C. Singer has a deep love of contemporary art, avidly collecting artworks with her husband, Adam, for more than 20 years. In 2023, 40 pieces from their collection were featured in an exhibition at Scottsdale Museum of Contemporary Art, titled In Our Time: Selections from the Singer Collection. In addition to serving on the Museum’s Board, Singer has served on the board at Free Arts for Abused Children of Arizona.
A native of Santa Fe, New Mexico, Eric Garcia embarked on his artistic journey at a young age and has had the privilege of working alongside renowned artists who have inspired his creative pursuits. He fused his fine art skills with advertising to establish his own multi-disciplinary ad agency, before partnering with a Phoenix ad agency in 2016. Seeking to merge his talents with a dynamic agency that shared his vision, he partnered with ONAdvertising, one of Phoenix’s largest minorityowned ad agencies, where he now serves as Owner and Partner.
MODERN + CONTEMPORARY GALLERIES CLOSURE
Beginning June 3, the Museum’s modern and contemporary art galleries will undergo their first major renovation in nearly 20 years. The refreshed space will reopen this fall with a new, dynamic rotation of PhxArt Collection favorites and immersive installations. More information available soon at phxart.org
ERIC FISCHL LECTURE + RITCHIE ACQUISITION
On April 10, in partnership with Phoenix College (PC), PhxArt hosted the 2024 Eric Fischl Lecture Series, featuring guest artist Matthew Ritchie. The evening included an exhibition of artworks by PC students, a presentation of the Vanguard Awards, and a conversation between contemporary painter, sculptor, author, and PC alumnus Fischl and Ritchie, an accomplished contemporary artist who seeks to describe the intangible links between information and collective thought. Ritchie collaborated with scientists, computer programmers, and architects to realize his large-scale installation works, including Something Like Day (2004), a new acquisition to the PhxArt Collection currently on view in Cummings Great Hall.
LENHARDT LECTURE + STOCKMAN ACQUISITION
On March 13, PhxArt presented the 2024 Lenhardt Lecture, featuring renowned contemporary artist Lily Stockman. Based in Los Angeles and Yucca Valley, California, Stockman draws from nature and its grammar of symmetry, camouflage, and repetition to create abstract paintings. Coinciding with the program at PhxArt, the Museum acquired Stockman’s painting Methuselah (2022), purchased with funds provided by the Lenhardt Contemporary Art Initiative.
image credit : Matthew Ritchie, Something Like Day , 2004.
Lenticular lightbox panels in aluminum frame. Gift in Honor of Yuko Hasegawa.
image credit : Lily
Stockman, Methuselah , 2022. Oil on linen. Purchased with funds provided by the
Lenhardt Contemporary Art Initiative.
Los Guías de Phoenix Art Museum
SPANISH-LANGUAGE DOCENT TOURS
PhxArt has formed a new committee of Docents—Los Guías de Phoenix Art Museum—composed of Docents, Docent apprentices, and Docent trainees who gather to practice using Spanish for tours, talks, and “Ask Me” conversations. Los Guías (The Guides) aim to provide a positive environment in which to practice Spanish touring skills, discuss art in Spanish, support the needs of Spanish-speaking Docents, share Latinx culture, discuss bilingual and bicultural topics, build confidence, and gain experience in using the language in a museum setting. Participants include heritage speakers, native speakers, and non-native speakers who have studied the language or lived abroad, and have a blend of intermediate, advanced, and native proficiency. Some participants are already touring and giving talks in Spanish, and others are working toward building confidence to interact with visitors during informal conversations.
Los Guías members (pictured left to right) include John Groves, Ximena Parra, Jean Steiner, Terry Tirres, Cristina de Isasi, Genise McGregor, and Diana Banahan. They hope to continue growing as the Museum recruits more Spanish-speaking trainees for the Docent program.
Interested in joining the Docent program at Phoenix Art Museum?
Contact recruitment@phxartdocent.org
Arizona Artist Awards
PhxArt has named Safwat Saleem the recipient of the 2024 Arlene and Morton Scult Artist Award and Elizabeth Z. Pineda and Omar Soto as the recipients of the 2024 Sally and Richard Lehmann Emerging Artist Awards. In addition to a lifetime Phoenix Art Museum Membership, Saleem receives monetary support of $20,000, while Pineda and Soto receive $10,000 each, as well as the opportunity to show work in solo and group exhibitions at the Museum, respectively.
Safwat Saleem’s multidisciplinary practice ranges from graphic design and illustration to writing, film, and sound, centering on immigrant narratives and particularly the cultural loss that results from assimilation. His body of work weaves together themes of preservation, desire to belong, resistance, and joy as an immigrant father raising a multiracial child in the southwestern United States.
Born in Tijuana, Mexico, Omar Soto is an undocumented Phoenixbased photographer who creates surreal imagery that explores queer joy and escapism to navigate the marginalization they endure while living at the intersection of race, gender, and social class.
Originally from Mexico City, Elizabeth Z. Pineda is an emerging photographic artist who uses historic and untraditional photographic, printmaking, papermaking, and book-art processes to explore issues surrounding immigration, identity, displacement, and migrant deaths that occur in the Arizona desert.
More details on the upcoming Arizona Artist Awards exhibitions will be available soon on phxart.org.
The Arizona Artist Awards are made possible through the generosity of Arlene and Morton Scult; Sally and Richard Lehmann; and the Cohn Fund for Arts and Culture, a founding gift of the Phoenix Art Museum Education and Engagement Excellence Fund.
The jury for the 2024 Arlene and Morton Scult Artist Award included Andrea Alvarez, Associate Curator, Buffalo AKG Art Museum; Jenea Sanchez, Communications Director at the Arts Foundation for Tucson and Southern Arizona and 2023 Scult Artist Award recipient; Alexis Wilkinson, Curator, MOCA Tucson; and Mort Scult. Alvarez, Sanchez, and Wilkinson also served on the jury for the 2024 Sally and Richard Lehmann Emerging Artist Award.
Safwat Saleem, 2024 Arlene and Morton Scult Artist Award Recipient. Photo courtesy of the artist.
Omar Soto & Elizabeth Z. Pineda, 2024 Sally and Richard Lehmann Emerging Artist Award Recipients. Photos courtesy of the artists.
Safety Blankets
Each year, the Phoenix Art Museum Education and Engagement team works with community partners and local artists to present two installations in the community art gallery in the Museum’s administration building. On view now, Safety Blankets: Discourse on Neurodivergence showcases textile works by 15 artists from Arizona and across the United States that examine the lived experiences of neurodivergent people. Examples of neurodivergence, or having a mind that functions in ways that diverge significantly from the dominant societal standards of “normal,” include but are not limited to autism, attentiondeficit/hyperactivity disorder, dyslexia, depression, anxiety, Tourette syndrome, obsessive-compulsive disorder, epilepsy, brain injuries, post-traumatic stress disorder, and more.
Organized by Charissa Lucille and supported in part by the City of Phoenix’s New Artist to Work Grant, the installation aims to disrupt misconceptions, spark connections and discourse, and challenge the meaning of neurodivergence. Featured artists include Sheena Cly Wahid, Yolie Contreras, Alice Costas, Phoenix Alvarado, Alistair Malone, Layla Nieves, Ari Rendon, Caroline Wilson, Aaron Davis, Michelle Dawn, Chris Leon Armarillas, Maira McDermott, Janelle Novotny, vivid schisms, and Charissa Lucille, all of whom offer insight into their experiences with various forms of neurodivergence through artworks that convey a sense of who they are, as individuals and in community.
Throughout Safety Blankets, visitors encounter 10 intentional universal design elements for neurodivergent and disabled people. The diversity of featured fabrics evokes an expanded understanding of the different encounters that artists may have and what occurs within their minds.
“Art has the ability to connect us all,” said Tiffany Lippincott, Curator of Education at Phoenix Art Museum. “Our hope is that this installation builds connections and understanding.”
Safety Blankets: Discourse on Neurodivergence is accompanied by an audio component, available via in-gallery QR codes. For more information, visit charissalucille.com and follow @safetyblankets on Instagram.
I made this piece in reflection of my experience living with OCD. it giveth and it taketh away pertains to touch, repetition, impulse, and an obsession with controlling an inevitable death.
vivid schisms (They/Them)
image credits: Charissa Lucille , Tactile Delight (detail), 2022. Quilt. Courtesy of the artist; vivid schisms, it giveth and it taketh away, 2023. Printed textile. Courtesy of the artist.
On View
special-engagement exhibitions
Barbie®: A Cultural Icon Exhibition
The Power of Pink
Through July 7, 2024 | Kelly Ellman Fashion Galleries
Multiple Realities:
Experimental Art in the Eastern Bloc, 1960s-1980s
Through September 15, 2024 | Steele Gallery
featured exhibitions
Princely States of the Punjab: Sikh Art and History
Through August 11, 2024 | Khanuja Family Sikh Heritage Gallery
Guarding the Art: A Frontline Perspective
Through December 1, 2024 | Rineberg and Ballinger Galleries
Larry Bell: Improvisations
Through January 5, 2025 | Second Floor Katz Wing
Laura Aguilar: Nudes in Nature
Through November 17, 2024 | Norton Gallery for the Center for Creative Photography
the collection
Nature as Still Life in Chinese Painting Scenes and Seasons in Japanese Art
Through August 11, 2024 | Art of Asia Wing
Philip C. Curtis and the Landscapes of Arizona
Ongoing | The Ullman Center for the Art of Philip C. Curtis
American Abstraction During the Thirties and Forties
American Scenes / Americas Seen
The Muse of New Mexico
Sublime Landscapes
You are in Cowboy Country
Ongoing | American Art Galleries
Yayoi Kusama: You Who are Getting Obliterated in the Dancing Swarm of Fireflies
Ongoing | First Floor North Wing
image credit : Miss Astronaut outfit, 1965. Fashion Queen Barbie ® doll. #1641. Loan from David Porcello Barbie ® Collection. Installation view of Barbie ®: A Cultural Icon Exhibition, 2024. Phoenix Art Museum.
Mountain High
The Collection:
From the Rooftop of the World: Buddhist Art and Photography of Tibet
Art of Asia Wing
Opening September 6, 2024
Nestled in the heart of Asia, Tibet stands at an astounding 14,000 feet above sea level, higher even than Mount Everest, or Chomolungma, the original Tibetan name for the world’s tallest mountain. Once an empire with considerable influence, its government was abolished in 1959. Today, China governs western and central Tibet, an area now known as the Tibet Autonomous Region although its status has been the subject of international debate and protest for decades.
Tibet has long been called “the rooftop of the world,” with towering peaks that pierce vibrant, cerulean skies. It is also the center of Tibetan Buddhism, a unique cultural and spiritual heritage that incorporates elements of Bon—considered the original indigenous religion of the region—and rituals, deities, and meditation techniques that evolved between the 8th and 17th centuries. Despite political tensions and restrictions on religious freedom and cultural practices, Tibetan Buddhism still permeates the region today.
This distinct and enduring religious practice underpins The Rooftop of the World: Buddhist Art and Photography of Tibet, which opens in September at Phoenix Art Museum. One of the newest special installations in the Art of Asia Wing, The Rooftop of the World explores what distinguishes Tibetan Buddhist art from similar art forms of other regions. Viewers encounter historic bronze sculptures from the 15th through the 18th centuries, a time in which Tibetan lamas—high priests—and the rulers of the Qing dynasty enjoyed a close relationship due to an exchange of gifts, official visits, and imperial patronage. Cast in bronze and sanctified with scriptures, gems, and relics sealed within their bases, these sculptures are gilded and, in some cases, cold-painted to catch the light of yakbutter lamps from the temple shrines and personal altars where they once resided. Of note, most Tibetan Buddhist deities are depicted both as peaceful beings who lead humans toward enlightenment, and as fearsome manifestations capable of conquering evil and death to protect the well-being and virtue of faithful believers.
This ferocity of the fearsome protector deities, with their grisly adornments of skulls, human limbs, and hideous monster attendants, is often surprising to viewers. Multiple heads and arms represent the many aspects of their superhuman powers, while pairings of male and female figures in erotic embrace signify the force of creation and the union of wisdom (feminine) and compassion (masculine) at the moment of spiritual enlightenment.
To complement historical works, the exhibition also showcases photographs by Chinese-American artist and photographer Dr. David Leiwei Li, Professor Emeritus at the University of Oregon in Eugene. These images provide a view into a region rarely seen by Western audiences, as foreign travel to Tibet has been intermittently forbidden throughout the 20th and 21st centuries, with a full ban from 2008 until 2013. Li offers unprecedented access to and tender depictions of the nation’s breathtaking landscape, distinctive architectural styles, ornate temple furnishings, and humble devotees who maintain their faith despite ongoing persecutions.
“From the Rooftop of the World pairs exquisite religious bronzes from hundreds of years ago with contemporary photography that illustrates the land, spaces, and daily life of Tibetan people in the present day,” said curator Colin Pearson. “It’s really the unique quality of Tibetan culture and the enduring faith and devotion of the Tibetan people that connect these two threads, and I hope that sense of continuation will be inspirational for visitors.”
From the Rooftop of the World:
Tibetan Buddhist Art and Photography is organized by Phoenix Art Museum and curated by Colin Pearson, consultant curator for Asian art. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
image credit : Unknown, Tsongkhapa, 18th-19th century. Gilt bronze. Gift of William Henry Storms.
The arts unite us all as humans and can inspire a sense of shared community.”
DESERT FINANCIAL CREDIT UNION
PROUD SUPPORTER OF LOCAL ORGANIZATIONS THAT CHANGE LIVES
pictured: CATHY GRAHAM, EXECUTIVE VICE PRESIDENT
Supporting Phoenix Art Museum since 2024
Desert Financial was founded 85 years ago right here in the Valley, and every day since, we have been deeply committed to supporting non-profit organizations and local businesses that make this a great place to live and Phoenix Art Museum is a shining example of that. We truly believe the Museum isn’t just about art; it’s about bringing people together, sparking conversations, and celebrating creativity. The impact Phoenix Art Museum has on our city is tremendous, and we are proud to support them in everything they do.
As organizations, one of the many things we align on is our passion for community arts programs. In particular, the Museum partners with local non-profit agencies that serve children and families to provide exposure to the arts. A notable organization they work with is Free Arts for Abused Children of Arizona. Desert Financial’s Executive Vice President Cathy Graham is a Free Arts board member and has experienced firsthand the transformative power of the work they do using artistic self-expression and resilience-building arts programs to help children heal from trauma and abuse.
Cathy recently had the opportunity to attend the opening celebration for the Museum’s newest special-engagement exhibition Barbie®: A Cultural Icon Exhibition. It was a fully immersive experience that included not just an impressive display of dolls from the original through today but also a full-sized Ultra-vette, beautiful fashion in every shade of pink, and even art-inspired hors d’oeuvres and cocktails. “It was educational, culturally relevant, and a whole lot of fun!” said Cathy.
The arts unite us all as humans and can inspire a sense of shared community. Phoenix Art Museum embodies this beautifully, connecting people from all walks of life with outstanding exhibitions and programs. Desert Financial is excited to continue partnering with this amazing organization to spread art and learning throughout Arizona.
Forging Ahead
Lower Level Katz Wing Opening June 12, 2024
Imagine a dollhouse with its own miniature gallery of notable paintings and works of art, including Marcel Duchamp’s scandalous Nude Descending the Staircase , a thumb-sized sculpture of Mother and Child cast by William Zorach, and an alabaster Venus by Gaston Lachaise. Well, such a work exists. Titled The Stettheimer Dollhouse , it is one of the most unique works to come from the Stettheimer sisters, created during the American Modern movement in an incredible collaborative effort. The Museum of the City of New York held a housewarming for the dollhouse in 1945, with notable artists like Georgia O’Keeffe in attendance. The unusual affair exemplified how artists of the era defied traditional expectations of sensibility and taste to prioritize whimsy and experimentation.
From 1900 into the 1930s, many visual artists, writers, and other cultural figures who embraced this philosophy— dubbed “American modernists”—flocked to New York City. There, they discovered kindred communities and drew the admiration of their European colleagues of a similar modernist movement. In 1913, several artists, including Arthur B. Davies and Walt Kuhn, organized the Armory Show, the first large-scale introduction of modern art presented to U.S. audiences. The display was met with shock by many who found the works baffling. In place of works by Rembrandt and Titian stood paintings and more that exposed audiences to cubism, abstraction, and intense color palettes. The ingenuity of these experimental artists was deemed outrageous by art critics but launched a revolution in the art world.
American Modern celebrates this period, with more than 55 works from the exceptional holdings in the PhxArt Collection. The installation broadly explores how artists of the first half of the 20th century used abstraction and experimentation to spark new perceptions of modernity and novel modes of expression. Of note, it highlights various key areas and groups of the period, including the first generation of modernist artists in America and Europe, the avant-garde in the southwestern U.S., the Transcendental Painting Group, members of the Mexican Muralist movement, the Post-surrealists, Machine Age artists, the American Abstract Artists group, and the significant cohort of women artists who worked across these areas and collectives. While viewers won’t experience The Stettheimer Dollhouse in person, Florine Stettheimer’s painting Easter Picture, Georgia O’Keeffe’s Pink Abstraction, works by Alexander Calder and Walt Kuhn, and the sculptures of Louise Nevelson and Alexander Archipenko are sure to delight, offering a unique view into the the artists who helped pave the way for contemporary creators of our time.
American Modern is organized by Phoenix Art Museum and curated by Betsy Fahlman, PhD, adjunct curator of American art. It is made possible through the generosity of Men’s Arts Council. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
image credit : Florine Stettheimer, Easter Picture, c. 1915-1917. Oil on canvas. Gift of the Estate of Ettie Stettheimer. Photo: Ken Howie. The Collection: American Modern
EXHIBITIONS
Barbie®: A Cultural Icon Exhibition
Kelly Ellman Fashion Galleries Through July 7, 2024
In 1959, Barbie ® debuted at the New York Toy Fair, wearing a black-and-white striped swimsuit and her signature ponytail. Toy buyers were skeptical because Barbie ® was unlike the baby and toddler dolls that were popular at the time. They doubted she would be successful, but Barbie ® took the world by storm, turning play into an enriching experience for little girls to imagine their futures like never before.
Created by Illusion Projects and Mattel, Inc. and curated by Karan Feder, Barbie®: A Cultural Icon Exhibition examines the brand’s 65-year history and global impact on pop culture. Across six distinct sections, visitors to the exhibition at Phoenix Art Museum experience more than 250 vintage dolls—including the original Barbie ®—from the collections of private collector David Porcello and Mattel. The display also features life-sized fashion designs, exclusive interviews, and narrative sections that consider the style trends, careers, and identities that Barbie ® has embodied and popularized over the decades.
The idea for Barbie ® was born with Ruth Handler, co-founder of Mattel, when she saw that her daughter Barbara’s toy choices were limited. Barbara could only play out being a mom or caregiver, whereas her son had toys that allowed him to imagine himself as a firefighter, astronaut, doctor, and more.
Ruth later observed Barbara playing with paper dolls for hours and recognized the opportunity to champion and inspire girls by introducing a three-dimensional doll that showed them that they could be anything. She wanted to create a doll with adult features so girls could play out their future selves, but her team saw challenges with molding realistic details on such a small scale. It was not until Ruth traveled to Europe and stumbled on a doll in a Swiss shop that her dream became a reality. She quickly bought the doll and brought it back to the United States.
During development, Mattel hired a former rocket scientist and engineer to solve the doll’s complex challenges. They worked tirelessly to patent a 3D model that could be mass-produced.
The next challenge was designing intricate and miniature-sized outfits. Charlotte Johnson, an accomplished New York fashion designer and instructor, was the solution. Mattel flew her to Tokyo, where she spent two years setting up a fashion studio and working with manufacturers. Johnson designed the first 22 outfits and trained her team to sew tiny clothes with precision. Each ensemble, complete with accessories, was created like the bespoke clothing of haute couture and drew inspiration from prominent fashion icons of the time, including First Lady Jacqueline Kennedy, to ensure that Barbie ® was always on trend.
CONTINUED ON PAGE 14
BARBIE #1
The looks were then handpicked by Mattel founders Ruth and Elliot Handler, and only those that were both stylish and practical to produce ended up in her wardrobe. After years in the making, Barbie ® was finally ready.
Today, the face of America looks remarkably different from when Barbie ® first emerged in 1959—and so does Barbie ®. Barbie ® is now available in 35+ skin tones, 94+ hairstyles, and 9 body types, with more than 200 professions on her resume. Just as she has for the last 65 years, Barbie ® continues to change with the times.
She has also inspired and been inspired by the fashion and creative community for six decades, collaborating with more than 75 different influencers and serving as creative inspiration for more than 150 designers. For example, Barbie ® inspired Jeremy Scott’s Moschino Spring 2015 line, which debuted at the 2014 Moschino fashion show in Milan. The accompanying Barbie ® doll, wearing the first look from the show, was gifted to attendees seated in the front row. Barbie ® later partnered with Moschino to announce three more doll collaborations.
Through Barbie®: A Cultural Icon Exhibition, Arizona audiences learn the full story of how Barbie ® has become beloved by fans across all ages, genders, professions, and nationalities. The brand’s message of independence, confidence, self-reliance, and empowerment are universally understood, and Barbie ® remains poised to take on the future and inspire all individuals to unlock their limitless potential.
Barbie ®: A Cultural Icon Exhibition was created by Illusion Projects and curated by costume historian Karan Feder, in collaboration with Mattel. The exhibition’s presentation at Phoenix Art Museum is coordinated by Helen Jean, the Jacquie Dorrance Curator of Fashion Design. The Phoenix premiere of Barbie ® A Cultural Icon Exhibition is made possible through the generosity of The Opatrny Family Foundation, Arizona Costume Institute, Desert Financial Credit Union, Men’s Arts Council, My Sister’s Closet, Miriam and Yefim Sukhman, and Shamrock Farms. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
image credits : (page 13) Barbie ® #1 doll, wearing original outfit, 1959-1961. Loan from Mattel Corporate Archives. (all images) Installation views of Barbie ®: A Cultural Icon Exhibition , 2024. Phoenix Art Museum.
DID YOU KNOW? BARBIE® FUN FACTS
Ruth named the doll “Barbie” after her daughter, Barbara Handler, and “Ken” after her son, Kenneth Handler.
The tiny brass compact on view in Barbie®: A Cultural Icon Exhibition is one of the rarest Barbie® accessories, measuring in at less than ½ inch. Barbie® herself is only 11.5 inches tall.
It takes a professional staff of fashion designers, makeup artists, hair stylists, sculptors, graphic and packaging designers, costuming engineers, and an entire marketing team—more than 100 people in all—to create a Barbie® doll.
To complete each ensemble, the design team for Barbie® shops the Mattel accessory archive, pulling from drawers full of thousands of miniature shoes, hats, jewelry, purses, and more. If they cannot find what they are looking for, the sculpting department will shape something entirely new for the occasion.
My Sister’s Closet continues to support the Museum because art heals—that’s a proven fact.”
MY SISTER’S CLOSET
ANN SINER, CEO AND FOUNDER
Supporting Phoenix Art Museum since 2011
My Sister’s Closet and Phoenix Art Museum first connected through our shared love of fashion and the Museum’s former fundraiser the Independent Woman Luncheon. My Sister’s Closet was actually the first major sponsor of the Luncheon, and we continued to sponsor that event for a number of years thereafter.
Since then, I’ve served on the Board of Trustees and co-chaired the Museum’s annual gala, The pARTy, twice. I have loved meeting so many impressive people through the Museum, including Madeline Albright, Martin Bullard, Jonathan Simkhai, Charlotte Moss, and Cathy Graham, just to name a few. Those experiences are some of my favorite memories at PhxArt.
The Museum is poised to be one of the most memorable and treasured arts and cultural institutions in the Southwest, and we are all excited by the new leadership and a dedicated Board of Trustees made up of some of the best and brightest people in Arizona. Beyond that, My Sister’s Closet continues to support the Museum because art heals—that’s a proven fact. For this simple reason, we encourage everyone to support PhxArt and the arts in general. In today’s chaotic and sometimes depressing world, we need more art and more time to enjoy art, and Phoenix Art Museum makes that possible for everyone.
Blushing Beau(tie)s
Every season, a color trend crops up on catwalks across the globe. In the fashion galleries at Phoenix Art Museum, pink is having its moment. Drawn largely from the Museum’s renowned fashion collection, The Power of Pink explores the color’s influence on fashion in all its complexities. Enjoy these short vignettes exploring pivotal moments throughout the hue’s history, tracing pink’s evolution from status symbol to gender marker to contemporary fashion statement.
LA VIE EN ROSE
In 17th-century France, red reigned. Rich crimsons and deep burgundies flooded courtly couture as a symbol of wealth and luxury. It wasn’t until the mid18th century that pink came into vogue, stepping out of the shadow of its base color. Members of the aristocracy—gentlemen and ladies alike—began to wear various shades of pink, the latest color trend that was expensive to produce and would thus distinguish them from the middle class. The hue was a particular favorite of Madame de Pompadour, Louis XV’s favored mistress.
The Power of Pink Kelly Ellman Fashion Galleries
Through July 7, 2024
FUSCHIA FIGHTERS
The history of el traje de luces, or “suit of lights,” is gilded in gold with a pop of pink. As early as the 18th century, nearly every small town in Spain had its own toreros, or bullfighters, who wore these elaborate suits often adorned in gold and galos de platas, a motif similar to military badges worn by nobles of the era. The extravagance of the uniform symbolized the toreros’ near-royal status. From the end of the 18th and into the 19th centuries, when brightly colored attire was more expensive to produce, bullfighters began introducing pink into their ensembles as another indicator of their wealth and status. The hue was also believed to bring good luck, unlike yellow (considered an unlucky color) and green and purple (colors that often lined the insides of coffins during the period).
In the 1920s, famed bullfighter Juan Belmonte regularly wore bright pink socks in honor of the tradition. The color also accentuated the quick movements of his feet, helping to ensure his legs were visible to viewers farthest away from the action.
PINK IS FOR GIRLS, BLUE IS FOR BOYS
For decades, pink and blue have been colors traditionally assigned to girl and boy babies, respectively, but this gendered view of the hues is a modern one. By the 1940s and 1950s, U.S. mass-marketing efforts were separating consumer products—everything from clothing to toys—according to the man/woman gender binary, down to their color. So how did pink become assigned to girls? Many historians point to the year 1953, when Mamie Eisenhower, then First Lady of the United States, wore a rhinestone-studded, pink ball gown to President Dwight D. Eisenhower’s inauguration. The color was warmly reviewed by newspapers and welcomed by fashion designers, who had become increasingly disenchanted with the simpler styles and drab colors that defined women’s fashion in the 1940s, necessitated by wartime rations and limited supply. Pink thus became associated with Mrs. Eisenhower and traditional notions of femininity, domesticity, and wifely duty, and as styles for young girls began to mirror those of adult women in miniaturized versions, advertising campaigns reintroduced the color pink as the exclusive hue of girlhood.
Today, the pink/blue binary most commonly anchors gender reveal parties, a trendy celebration during which couples announce the sex of a baby by surprising guests with a showy pop of pink or blue (think balloons exploding with pink or blue confetti, or a white cake that, when cut into, reveals layers of pink or blue).
ROSY WESTERN-WEAR
At the 2019 GRAMMY® Awards, rapper and style icon Post Malone wore a custom blush-toned suit (pictured right) by Los Angelesbased costume designer and stylist Catherine Hahn. The dazzling garment decorated in glittering stars was the latest in a long line of Western-inspired ensembles the musical artist wore that season, the same year he was dubbed “the cowboy king of the red carpet” by GQ and “a modern-day Elvis” by Vogue . In combining a traditionally hyper-masculine ensemble with what has been perceived for nearly a century in the U.S. as a hyper-feminine hue, the suit is another example of the reclamation of pink as a gender-neutral color, available to any and all as an appropriate and exciting expression of self.
The Power of Pink is organized by Phoenix Art Museum and curated by Helen Jean, the Jacquie Dorrance Curator of Fashion Design at Phoenix Art Museum. It is made possible through the generosity of Arizona Costume Institute, My Sister’s Closet, and the Kelly Ellman Fashion Endowment Fund. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
image credits: (page 17) Custom Wedding Gown, 1955. Acetate satin and cotton lace with bead embroidery. Lent by the Estate of Nancy Youngman of Flagstaff, Arizona. Installation view of The Power of Pink , 2024. Phoenix Art Museum; (page 18) Installation views of The Power of Pink , 2024. Phoenix Art Museum; (page 19) Post Malone’s pink studded suit from the 2019’s Grammy Awards, Photo: Courtesy of Adam DeGross. The Power of Pink is not licensed, sponsored by, or affiliated with Mattel, Inc or Barbie™ and associated trademarks.
“TOO OFTEN WE THINK OF CONFLICTS LIKE THE COLD WAR IN BROAD WAYS, IN TERMS OF NATIONS AND IDEOLOGIES. THIS SHOW HAS MUCH TO TEACH ABOUT THE PEOPLE IN [THE] SHADOWS OF THESE…”
– DAN DURAY, OBSERVER
“…A WEIGHTY AND AMBITIOUS EXHIBITION [THAT] REORIENTS AMERICAN AUDIENCES TOWARD A GENERATION OF ARTISTS, WRITERS AND MUSICIANS FOR WHOM FREE EXPRESSION WAS NO PLAYTHING AND NO LUXURY.”
– JASON FARAGO, THE NEW YORK TIMES
“…A COUNTER NARRATIVE, ONE OF AUDACITY AND EXPERIMENTATION AS WELL AS CUNNING NEGOTIATIONS BY ARTISTS WITH POWER.”
– DAVID CROWLEY, THE ART NEWSPAPER
Get Free
It’s 1960, 13 years into the Cold War. U.S. presidential hopefuls Senator John F. Kennedy and Vice-President Richard Nixon both take a strong stance against the Soviet Union and the threat of global communism, promising increased military intervention where necessary. Just one year later, the communist government in East Germany will erect a 155-kilometer wall in Berlin, a physical, symbolic, and psychological separation of the Eastern Bloc and the West. If you were alive during this moment in world history, what do you recall when you think back on the period? If you weren’t born yet, what do you imagine when you contemplate Eastern Bloc nations of the era? If Brutalist architecture, nationalist and wartime propaganda, military checkpoints, hammer-and-sickle iconography, and subdued hues come to mind, you are not alone. But Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s offers an entirely different world of imagery—one of creative output beyond the bleak grays and military order that’s just waiting to be discovered. Organized by the Walker Art Center and curated over five years by Pavel S. Pyś, this major, global survey—the first of its kind—shatters stereotypes surrounding Cold-War art and aesthetics. With work by
Multiple Realities:
Experimental Art in the Eastern Bloc, 1960s-1980s
Steele Gallery
Through September 15, 2024
nearly 100 artists from Eastern Bloc countries, including the former East Germany, Czechoslovakia, Yugoslavia, Poland, Hungary, and Romania, the exhibition uncovers cutting-edge, avant-garde works and techniques that artists mastered to confront and circumvent varying degrees of censorship and controls on how art could be produced, themed, circulated, and experienced. These works offer daring, colorful, and edgy interpretations of the period and the artist’s experience of it, and some might even make you laugh out loud.
Consider Take Five (1972) by Zbigniew Rybczyński (pictured left). The experimental Polish film overlays double-exposed, brightly colored human figures that appear to perform a synchronized dance to the eponymous jazz standard by the Dave Brubeck Quartet. With stoic faces, whimsical movements, scene cuts more reminiscent of horror films, and a cheeky soundtrack, the work reads playful, delightfully creepy, wholesomely uncomfortable— all of the above. (For a contemporary counterpoint to this work, make sure to watch Jon Heder’s solo dance performance in the iconic independent comedy Napoleon Dynamite [2004].)
Sedmikrásky (Daisies) (1996) by Czech filmmaker Věra Chytilová offers a similarly quirky vibe. The video work follows two female protagonists—both named Marie—through a series of idiosyncratic and absurd experiences that poke fun at the trope of the infantilized woman, authoritarianism, communism, and the bourgeoise, defined in Marxist Communism as the ruling class. It’s a visual treat— decadent, chaotic, and farcical, topped with a flower crown.
While every featured work and artist certainly has its own story, each of the works in Multiple Realities fits within four overarching themes: the state, the self, artistic expression, and scientific discovery. Examples of documentary and covert photography, impromptu improvised performances, and somber memorial works critique the state’s control and surveillance of both public and private spaces. A section titled Dimensions of the Self features everything from mixedmedia works on paper to sculpture and installation that demonstrate the ways artists used their own bodies as media to explore deeper levels of self-expression and subversive ideas of gender and sexuality. Viewers also discover magazines, cartoons, photography, and other material culture that artists created to move beyond the prescribed system of making and presenting art as dictated by state authorities. These works allowed artists across geographies to build community and meaningful networks of exchange. The final section of the exhibition then turns its attention to scientific and technological advancements, namely the ways the Space Race, nuclear energy, and new forms of communication fed the rise of Op art, kinetics, cybernetics, and the use of experimental sound and imagery.
All told, Multiple Realities is an exciting and evocative display—an exceptional opportunity to experience art from a region and time that is neither represented in the Phoenix Art Museum Collection nor explored often in U.S. art museums. It offers deep insight into a moment in history that most people think they know, thanks to history books, documentaries, and decades of espionage thrillers that distill the period to one of political darkness and intrigue. But Multiple Realities lets the light in—reminding us that artists throughout history have always found ways to fight for and achieve freedom, even in the face of censorship and struggle, when independence seems to be at its most unattainable.
Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s is organized by the Walker Art Center with major support provided by Martha and Bruce Atwater. Exhibition research was supported by a curatorial fellowship from the Andy Warhol Foundation for the Visual Arts. The exhibition is curated by Pavel S. Pyś, Curator of Visual Arts and Collection Strategy, at the Walker Art Center. Its presentation at Phoenix Art Museum is coordinated by Rachel Sadvary Zebro, associate curator of collections, and is made possible through the generosity of The Opatrny Family Foundation, Joan Cremin, Men’s Arts Council, and Diana and Mark Feldman. In-kind support provided by Kimpton Hotel Palomar Phoenix and KJZZ/KBACH. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation, with additional major support provided by Joan Cremin.
image credits: (page 22) Zbigniew Rybczyński, Take Five , 1972. 35mm film (color, sound) transferred to digital. Courtesy the artist, Vail, AZ. (page 23) Teresa Murak, Objekty I–III (Objects I–III) 1975. Fabric, watercress, resin, plexiglass. Courtesy Dr. Osman Djajadisastra, Aachen, Germany; image courtesy Polish Institute Düsseldorf, Germany; photo: Adam Grabolus. (page 24) Eva Kmentová, Lidské vejce (Human Egg), 1968. Bronze. Nada č nı fond Kmentová Zoubek (Kmentová Zoubek Foundation); image courtesy Kmentová Zoubek Foundation, photo: David Stecker. (page 25) Vě ra Chytilová, Excerpts from Sedmikrásky (Daisies), 1966. 4K restoration from a 35mm film print (color/black and white, sound). Courtesy Národnı filmový archiv / National Film Archiv, Prague; image courtesy National Film Archiv, Prague; © Czech Film Fund.
On April 13, Phoenix Art Museum hosted The pARTy in the Garden and The Pink afterpARTy in honor of PhxArt’s 65th Sapphire Anniversary. Guests enjoyed exclusive access to Multiple Realities: Experimental Art in the Eastern Bloc, 1960s-1980s, Barbie®: A Cultural Icon Exhibition, and The Power of Pink. The evening grossed more than $830,000 in support of exhibitions and education programs at Phoenix Art Museum.
Thank you to all who attended, with special thanks to The pARTy and afterpARTy co-chairs, benefactors, and sponsors.
t he 65 th a nniversary s apphire g ala c hairs
*Michele M. + Matthew Feeney
Judith + *Donald C. Opatrny
t he p ink afterp art y c hairs
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Lisa Bienstock, DDS, + Ben Himmelstein
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Arizona Costume Institute
SUPPORT THE ART OF FASHION
Do you have a passion for fashion and philanthropy? Are you looking for a way to get more involved in the arts community while gaining access to fashion curators, models, designers, and other industry professionals? Join Arizona Costume Institute (ACI) today.
Since 1966, ACI has promoted the appreciation and understanding of fashion by supporting exhibitions and education programs at Phoenix Art Museum and fundraising to help the Museum acquire and preserve works of historical and aesthetic significance. With the support of ACI, the PhxArt fashion collection numbers more than 9,000 objects, including American and European men’s, women’s, and children’s dress and accessories dating from the late 17th century to the present.
The Museum has also presented hundreds of education and engagement programs and exhibitions to our shared community, including Barbie® : A Cultural Icon Exhibition, The Power of Pink, MOVE: The Modern Cut of Geoffrey Beene, and India: Fashion’s Muse
CORE BENEFITS FOR ALL ACI MEMBERSHIP LEVELS INCLUDE:
• Invitations to all VIP opening receptions for PhxArt fashion exhibitions
• Special member pricing for select luncheons, fashion conversations-and-cocktails, and other events
• Subscription to the ACI President’s e-newsletter
• Participation in the Lemon Library Book Club, celebrating the history and innovation of fashion through the ages
SCAN FOR ACI MEMBERSHIP LEVELS + BENEFITS
2023 ACI Holiday Luncheon
THE DIFFERENCE IS YOU
This past December, ACI welcomed fashion designer Jonathan Simkhai in conversation with Helen Jean, the Museum’s Jacquie Dorrance Curator of Fashion Design, at the annual Holiday Luncheon. PhxArt is proud to share that the 2023 luncheon grossed more than $360,000 in support of fashion exhibitions, education programs, acquisitions, and collection care.
Thank you to the ACI Holiday Luncheon co-chairs, planning committee, ambassadors, donors, and supporters who made this stunning event possible.
2023 ACI HOLIDAY LUNCHEON COMMITTEE MEMBERS
COMMITTEE CHAIRS
Beth McRae
Oscar De las salas
HONORARY CHAIR
Eileen Yeung
LUNCHEON AMBASSADORS
Markus Ford
Jordan Rose
Jennifer Schuitemaker
PRESENTED BY
Philip Manghisi Wunderkind
Western Alliance Bank
Anonymous
COMMITTEE
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Amy Walters
photo credit : Scott Foust Studios
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Thank You
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Phoenix Art Museum gratefully acknowledges the generosity of our donors whose annual gifts benefit our exhibitions, educational programs, and services for the community.
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The Global Ambassador
Jeffrey and Angela Glosser ⑤
Jackie Gutsch ⑤
Suzanne Diamond
Ashley Harder
Karen and Lawrence Harris ⑤
Ryan and Valerie Hartman
Michael Hawksworth and Anna Sokolova
The Head Family Foundation
Maxine Henig and Jodi Freeman
Ms. Mary Beth Herbert and Mr. Cecil Penn
Linda M. Herold
Mr. and Mrs. David L. Higgins
High Society Boutique
Loretta Hirsch ⑤
Arthur and Lynda Horlick ⑤
Heather T. Horrocks and Brandon Horrocks
Mimi Horwitz ⑤
Jacob Hughes and Megan Monaghan-Hughes
Betty Hum
Tim Hundelt
Justine Hurry
Catherine M. Jablonsky
Stephen and Donna Johnson
Gigi Jordan and Bob Patterson
Adolynn and Larry Kahn ⑤
Ellen and Bob Kant
Merrill and Van Kasper
Tracy and Jeff Katz
Elizabeth Katzman
Barbara Kavanagh
Kathy and Fred Kenny
Lisa Khan
Eleanor and Bruce Knappenberger
Clarice Kniazzeh Lappe and Carolyn
Refsnes Kniazzeh
Brian Kordansky
Anthony Kosednar and Sabra Nuel
Susan Kovarik and Brian Schneider
Susan and Manuel Kramer ⑤
Stephen Kulis and Flavio F. Marsiglia
°Carolyn R. Laflin
Agnes T. Lardizabal, M.D. and Santiago Lardizabal
Bruce and Jane Lawson
Joseph Leeds
Benjamin and Cindy Lenhardt
Jerry Lewis
Life Challenge, Inc.
Dr. Dorothy Lincoln-Smith ⑤
Sam and °Judy Linhart
Nancy Loftin and Mark Loftin
Lucy and Robert Lorenzen
Lynne Love
°Rea Ludke
Mr. and Mrs. Daniel G. Maloney
Mr. and Mrs. Murray Manaster
Maple & Ash
Roger and Victoria Marce
Merle Marcus
Flavio F. Marsiglia and Stephen Kulis
Sandra Matteucci
Katherine May
Roxanne and Brian McCafferty
Tammy McLeod and John Hamilton
Betty H. McRae and Hamilton E. McRae
Janet and John Melamed ⑤
Mary Menacker and Stuart R. Brackney
Arthur Messinger
Sherrell Miller
Eliot and Doris Minsker ⑤
Debbie Monti-Keland and H. William Keland
Judee Morrison
Susan Muzzy
Mya Kai Creative and The Zay Project
Karen Nackard
National Bank of Arizona
°Priscilla and Michael Nicholas
Northern Arizona University, Road Scholar
Michael and Kathleen Norton
Kenneth O’Connor and Deedee Rowe
Leah Pallin-Hill and Bryan Hill
David and Mary Patino ⑤
Keith Paulson
Nancy Pendleton and Robert Smith
The Phoenician
William and Mary Kay Post
Michael Potts
Jennifer Powell
Erik Powell
Prada USA Corp.
Helene and Joseph Presutti
Anne M. Prine
Phyllis and James Rector
Carolyn Refsnes Kniazzeh
Reyes Contemporary Art
Ida Rhea ⑤
Nancy Bailey Riegel
Gail Rineberg
°Edgardo Rivera and Donald Rumer-Rivera
Nancy Robertson
Jenna Roehm and Helene Presutti
Waynor Rogers and Laurie Rogers
Julie Rohr
*Terry Roman and Stephen H. Roman
Stephena C. Romanoff ⑤
Merle and Steve Rosskam ⑤
Mary and Tom Sadvary
Mark and Stella Saperstein ⑤
James and Linda Saunders ⑤
Carol and Randy Schilling ⑤
Patricia Ann Schmidt ⑤
Jennifer and Michiel Schuitemaker
Fred and Arleen Schwartz
Seattle Foundation
Mary and Stanley Seidler
The Seidler Foundation
Shapiro Aesthetic Plastic Surgery & Skin Klinic Shofur
Mr. and Mrs. Robert Shull
The Skin Shop Medspa
Donald and Dorothea Smith
Lynne Smith
Kirk S. Smith and Laura Fisher Smith
Spence Family Foundation
Judy and Bud Stanley
Dr. Mark S. Stapp ⑤
Lucia Stellato
Rosemary and George Stelmach ⑤
James L. and Jean Stengel
Christopher G. Stuart
Tom Tait and Patsy Tait
Loretta Tedeschi-Cuoco
Gail and Dan Tenn
Nancy Thomson ⑤
Radbeh Torabi and Sarah Cosme-Torabi
Arlene G. Tostenrud
Steven E. Trail and Susan S. Trail
Patricia and Laurence Tree
Pat and Phil Turberg ⑤
Kimberley Valentine
Vanguard Charitable Endowment Program
Mildred B. Williams
Vicki and Vernon Vaughn
Binu Verma
Vermaland LLC
Christy Vezolles
Debbie and Jack Waitkus ⑤
Annie Waters and Bob Ryan
Gerald H. Weiner
Weiss Brown, PLLC
Michael and Marci White
Richard Wiggall
Gretchen and Dick Wilson ⑤
Stephen and Jeanne Winograd
Cynthia Witting
Georgia Ray and R. Stephen Wolfe
Paul and Katherine Wolfehagen
Delwyn and Diana Worthington
Gail Zucker and Ronald Monat
Sheila and Michael Zuieback
21st Century (REALIZED)
Anonymous
Eleanor Ableson
Dr. Robert Adami
E. Mark Adams and Beth Van Hoesen Adams
Joan and Lorenz Anderman
Susan A. Augsburger
Ruth and Hartley Barker
Claudia I. Baum
George K. Baum II
LeRoyce Bennett
Oonagh and °John Boppart
C. W. Brose
Lynne and Warren Brown
°Yvette Ward Bryant
°Pat Burney
Mabel and James Cahill
Spiro Cakos
°Amy S. Clague
John M. Clements
Ruth Clements
Jane Pearson Collamer
Virginia S. Connor
°Charles and Sheila Coronella
Mary Moore Coughlin
Russell Cowles
Mary Meeker Cramer
°Philip C. Curtis
Ralph Dudley Daniel
Paul Hyde Davies
°Barbara C. Dow
Nancy L. Durham
Lucille B. Earle
Liese Lotte and Albert Eckstein
Jeannette Shambaugh Elliott
°Darby and Herschel Epstein
Josephine “JoJo” Fabrizi
Richard Faletti
Donald Farnsworth
Allen and °Charlesa Feinstein
Carol and Harold Felton
Arthur Fishman, M.D.
Colin R. Floyd
Eunice Fort
Reginald J. Franklin
Margaret P. Gale
Georgia Gelabert
George F. Getz, Jr.
Marie Connor Girardin
Ann and Chet Goldberg
Bernard Grebanier
Ruth Gunston
Rose O. Gustafson
Jeanie Harlan
Delbert Harr
°Sybil Harrington
Margareta Harris
Paul Edward Helms, Jr.
Kax and °Bob Herberger
Barbara Turner Hitchcock
Stephen M. Hoover
Hugh Hard Horner
Dr. Bill Howard
Arleen W. Hughes
Ernest and Margaret Iglauer
°Edward “Bud” Jacobson
Mrs. Oliver B. James
Vivienne B. Jennings
Eva and °Dr. Eric Jungermann
Robert D. Kaufmann
Nan Kempner
William and Sharon Lee Ketai
Margaret Kirkpatrick
Helen M. Kollmeyer-Herzberg
Nancy Kucera
Betty M. La Fevers
Helen Lawler
Kathleen I. Leavitt
Frances Leonard
°Orme Lewis, Sr.
Dr. Patricia Lynch
°Dennis Lyon
Lyon Family Estate
Elizabeth B. MaGuire
James and Dhira Mahoney
Felicia Meyer Marsh
Maxine and °Jonathan Marshall
Beatrice McDowell
Mrs. Martha McKelvie
Miriam A. McKeown
°John H. Morrell
Maurine Mueller
Gerald H. Myers
Mary K. O’Malley
°Mr. and Mrs. L. Roy Papp
Helen Gunn Powell
Herbert L. Pratt
Margarite Mary Ramond
Mildred E. Reed
°Ginger Renner
Allan Richard Reznikoff
°Stephen Rineberg
Genevieve D. Roach
Lucy Roca
Marguerite Roll
Joseph and Gloria Rose
Robert R. Rosenbaum
°Betty and Newton Rosenzweig
Evelyn and Ernest Sauer
Jeanette and Bernard Schmidt
Jonas and Jacqueline Schreider
Carolyn Schulte
Frederick J. Schweitzer
Charles A. Simberg
Mary and Lee H. Slater
Sylvia Sleigh
Carolann Smurthwaite
Helen Spacek
George E. and Marjorie G. Springer
Frances Hover Stanley
Mildred N. Starr
Ettie Stettheimer
Joan and Roger Strand
Earl Stroh
°Betty Lou Summers
Ruth Hobday Sussman
Helen C. Tarbox
Joan and Philip Tener
Astrid L. Thomas
Arlene Tostenrud
°Virginia Ullman
Florence Van Norden
Baroness Carl von Wrangell
Anna Maude Webster
Albertine M. Weed
Ruth Bank Weil
Lee W. Werhan
Fred E. Wood
Eleanor and George Woodyard
Florence and Leon Woolsey
Hamilton W. Wright
21st Century (UNREALIZED)
Anonymous (3)
°Alvan and Sara Adams
Milena and °Tony Astorga
Dr. Janet Baker
Linda and James K. Ballinger
Dr. and Mrs. John A. Bamberl
Pari and °Peter Banko
Jim and *Alice Bazlen
Uta Monique Behrens
Ben Bethel
°John and Bonnie Bouma
Joe Bushong and Chad Christian
Iris Cashdan-Fishman
Marc and Mary Ann Cavness
Mr. Sandy Chamberlain and Dr. David Kest
Jae and Diann Christensen
*Joel and Melissa Coen
Elaine W. and Sidney A. Cohen
°George and Mandy Cohen
Pat and Gary Cohen
Lee and *Mike Cohn
Mr. and Mrs. °Jerry Colangelo
Harry R. Courtright
*Gloria Perlo Cowen and Philip R. Cowen
°Joan D. Cremin
Dorothy and Herold Crume
°Joseph and Kathy D’Amico
°Denise and Robert Delgado
Marnie Dietrich
Mary Heiss and °Harold Dorenbecher
Gary J. Egan and Daniel A. Holterman
*Carter and Susan Emerson
°Mark and Diana Feldman
Sharon and Victor Figarelli
Sharyn and Stuart Frankel
*Martin and Cynthia Galbut
William G.M. Gardner and Gabriella Gardner
Dr. Paul and Amy Gause
Bill and *Judy Goldberg
°Richard and Susan Goldsmith
*Michael and Heather Greenbaum
Pamela Grieco
°Paul and Mary Beth Groves
°Meryl H. Haber
Mr. and Mrs. Charles Hall, III
°Mrs. Diane Cummings Halle
°Nancy Hanley Eriksson
Terrence M. Hanson
*Lila Harnett
Ms. Susan von Hellens
Lynette Heller
Mary Beth Herbert
Cheryl Hintzen-Gaines and Ira Gaines
Suzanne and Val Hummel
Ray and Dee Isham
Henry E. (Hank) and MaryAnn L. Johnson
Stanford S. Johnson
*Jane and Mal Jozoff
Karen Justice
Donald Karner and Kathryn Forbes
Ruth R. Kaspar
*Ellen Katz
Mohammad and Vernita Khosti
*Don R. Kile Trust
Dottie Kobik
Dr. and Mrs. Ravi Koopot
Shawn and °Joseph Lampe
Thomas and Julianne LaPorte
*Sally Lehmann
Dawn and David Lenhardt
Tochia and Stan Levine
°Sharron Lewis
Linda Ligon
Dr. Dorothy Lincoln-Smith and Dr.
Harvey K. Smith
°Judy and Sam Linhart
°James and Dr. Michele Lundy
Janis Lyon
Jeffrey Manley
°Paul and Merle Marcus
Mrs. Robert McCreary
Jeremy Mikolajczak and Ana Tello
Glenda and Eugene Miller
Roy and Mary Miller
Dr. Herbert and Susan Miller
°Susan and Mark Mulzet
°Steve and Dr. Kristen Nelson
Robert and Mary Newstead
The Nieto Family
°Patricia and Richard Nolan
*Sally Odegard
June Olson
*Donald and Judith Opatrny
Harry and *Rose Papp
°Jim and Anita Patterson
Cecil W. Penn
Mr. and Mrs. Manuel A. Perez
Linda Peshkin
John and Laura Phelps
Don and Karen Randolph
Mr. and Mrs. Jonathan W. Reining
°Bruce Covill and Lucia Renshaw
Gail Rineberg
Mr. and °Mrs. Robert P. Robinson
*The Jordan R. Rose Family Trust
°Mrs. Paige D. Rothermel
°Jay S. and Mary Ell Ruffner
Elaine and Timothy Ryan
Dawn and °Jay Schlott
Steve and Anita Schultz
Melanie D. and Richard I. Shear
Rowena Simberg
°Adam and *Iris Singer
Leonard and °Angela Singer
Albert Skorman
Pamela and °Raymond Slomski
Dr. Jerry N. Smith
and Vickie Hamilton-Smith
Woodrow Jones and Richard Sourant
Becky Curtis Stevens
Patricia Stillman
Roxie and Jim Stouffer
Paula Strickstein
V.T. and Vicky Tarulis
Allyson J. Teply
George Thiewes
French Thompson
Diane and °Gary Tooker
Betty W. Van Denburgh
Abram C. Villegas
Irene H. Vasquez and Mildred B. Williams
Charles and °Meredith von Arentschildt
Joan and James von Germeten
Ms. Susan von Hellens
°William G. and Mary Way
°Louis A. and Daryl G. Weil
Naomi and Gerald Weiner
°Steve and Ann Wheeler
Iris Wigal
Ronald Wilson and Bonnie Naegle-Wilson
Georgia Ray and R. Stephen Wolfe
Robin and Stephen Woodworth
°Mares Jan Wright
°Judy and Sidney Zuber, M.D.
*Phoenix Art Museum Trustee
°Past Phoenix Art Museum Trustee
⑤ Arizona Five Arts Circle
I aspire for my legacy to be one of supporting the arts and ensuring that future generations can also experience the joy and inspiration that art brings.
SUZANNE HUMMEL
21ST CENTURY SOCIETY MEMBER
Supporting Phoenix Art Museum since 1959
PhxArt: How did you discover PhxArt, and what sparked your love of art?
Suzanne Hummel: I first visited Phoenix Art Museum in 1959, the same year it opened, when my mother, a self-employed photo-coloring artist, and my father, a photographer, took me there. At the time, I was fascinated by the Thorne Miniature Rooms because I was enamored with dolls. Cowboy art is what first ignited my passion for the arts. It resonated with my family’s move from Detroit to Arizona to experience the desert and cowboy culture.
PhxArt: What inspired you to first support PhxArt, and what has inspired you since?
SH: For Christmas in 1999, my mother gifted me a PhxArt Membership, which sparked my ongoing support for the Museum. Initially, I frequented the Museum for the cowboy art, but I have since found enjoyment and appreciation in the Asian art and fashion collections and galleries.
PhxArt: Do you have a favorite memory at PhxArt?
SH: I’ve cherished bringing neighbors, friends, and family to the Museum. One standout memory was when Johnny Hampton, a Cowboy Artists of America founder, took a photo with my daughter during a cowboy art show. Another memorable experience was when I met George Montgomery in 1981 at the cowboy art auction. I used to have paper dolls of him and his wife, Dinah Shore. It was delightful to meet him.
PhxArt: What inspired you to join the Museum’s Planned Giving Society, and what does this community mean to you?
SH: I joined because my life has been enriched by family and the arts. I want to ensure that art can be enjoyed by future generations. Attending appreciation events that have introduced me to so many like-minded people, accompanied by live music, has enriched my experience as part of the Planned Giving Society.
PhxArt: Why should other Members consider making a planned gift?
SH: Making a planned gift allows for the continuation of support for future art enthusiasts, effectively paying forward the enriching experiences the Museum provides.
Planned Giving
Planned gifts ensure PhxArt is prepared to serve generations long into the future. There are many ways to give, including IRA distributions, donor-advised funds, life-insurance policies, retirement funds, and estate gifts. To learn more, contact plannedgiving@phxart.org or 602.257.2169.
mensartscouncil.com
2023 Copperstate 1000
Photo by Tom Leigh
IN
MEMORY OF
Ed Mell
Ed Mell was a true son of the city, born in 1942 in Phoenix, where he grew up and attended Phoenix College before studying at the ArtCenter College for Design in Southern California.His creative journey took him East, where he first worked in the 1960s as an art director for an ad agency in New York City. There, Ed created a thriving illustration firm— Sagebrush Studios—with his friend and colleague Skip Andrews.
But the desert, with its mountain spires and cliffs of vermillion, continued to call him home, and in 1970, Ed returned to teach art classes during the summer on the Hopi Nation reservation in Northern Arizona. While teaching his love of art and expression to young and old alike, Ed found his own new creative mode—sketching the Arizona landscape that surrounded him. By 1978, he’d made the transition from commercial artist to fine artist—and the legend of Ed Mell was born.
Memorials are best at cataloguing dates, recording the transitions of our lives, the movements of one address to the next, the checklist of degrees and promotions, of businesses started and sold, of marriage anniversaries and the recorded birthdates of children, the laundry list of grandchildren and those left behind when we pass. What they don’t record is what it meant to know someone, to see the outpourings of their imagination turn a canvas from plain white to a canyon of crimson and gold, or a blue sky that stretches on forever. What they do not record is what it is to see our home, this extraordinary desert just past the continental divide, in a way we could never have imagined—until Ed Mell saw it first. A geometric jewel box of color and form, of mesas and plateaus, of gathering clouds and the savage strike of lightning—an entire world contained in a single breath that is the Arizona landscape.
For this, for all that Ed Mell has been and done for our city, our community, our Museum, no memorial can capture. It is a gift to have known him. It is an honor to collect his work. And most of all, it is the privilege of a lifetime to consider him a friend, a brother, a true son of Arizona.
image credit : Ed Mell, Canyon Angles, 1992. Oil on canvas. Gift of Edward Jacobson Revocable Trust.
photo credit : Shelly Ivy
The only way to say it is that Eric Jungermann was a dedicated and ‘feisty’ Trustee for many years. He never missed a meeting or an event of interest. He always spoke his mind, wanting the very best for the Museum’s programs, exhibitions and events, often contributing funds to make them succeed. And I do believe he enjoyed spirited pushing and poking to make his point, because he always did so with a wry smile. Most importantly, he was steadfast in his support of Arizona artists, both acquiring works for his home with his wife, Eva, and through his avenues of influence at the Museum, especially Contemporary Forum. Eric Jungermann leaves an incredible legacy at the Museum and in our community.
James
K. Ballinger
director emeritus phoenix art museum
IN MEMORY OF Eric Jungermann
The late baseball legend Jackie Robinson once famously observed, “Life is not a spectator sport.” To truly live, Robinson said, was to move out of the arena and into the game—to give oneself wholly and without reserve to action. By this definition, Eric Jungermann truly lived.
On January 9, 2024, past Trustee and longtime donor of Phoenix Art Museum Eric Jungermann, PhD, passed away at the age of 100. Dr. Jungermann was born in Mainz, Germany, where he lived until he was forced to flee due to the rise of the Third Reich in Nazi Germany. In 1939, Jungermann left Germany as part of the Kindertransport, a rescue mission that sought to bring Jewish and other at-risk children out of Nazi-occupied nations to find homes abroad. He moved to England, where he lived with a host family for seven years, and in 1946, he emigrated to New York, where he reunited with his family. There, he graduated from Brooklyn Polytechnic (now NYU’s Tandon School of Engineering) with a PhD in chemistry.
It was in the United States that Dr. Jungermann met his future wife, Eva. Eva graduated from Black Mountain College in Asheville, where notable artists like Josef Albers, Willem de Kooning, and Robert Motherwell taught. She completed her B.A. and M.A. in English at the University of Iowa and thereafter worked as a journalist, meeting and writing about many artists. Together, Dr. Jungermann and Eva nurtured a love of the arts that would persevere for the rest of their lives.
Throughout his career, Dr. Jungermann served as Director of Research for Colgate, Dial, Neutrogena, and other toiletry industry leaders, contributing to the development of numerous products and securing various patents. After living in Chicago, he relocated to Phoenix in 1972 with the Dial Corporation, and it was then that Eva and he began their deep commitment to our shared arts community. They supported Phoenix Bach Choir, the Phoenix Symphony, the Phoenix School of Ballet, and the Phoenix Chamber Music Society, in addition to serving on the boards of Scottsdale Museum of Contemporary Art, Arizona State University Art Museum, and Phoenix Art Museum. Along with his volunteer service, Jungermann also donated many important works to the PhxArt Collection, including those by Arizonabased artists Annie Lopez and|Steven Yazzie and nationally recognized artists such as Kehinde Wiley and Agnes Martin.
When it came to his adopted country and the desert city he and Eva eventually called home, Dr. Jungermann chose not to be a spectator, never observing life from the sidelines. Instead, he was a full participant in the cultural ecology of our region, leaving a legacy of generosity and action that will long be remembered.
A Decade of Service
Our staff are the beating heart of Phoenix Art Museum, opening doors, greeting guests, installing new exhibitions, and curating art experiences, all to open up a whole new world of creative expression for audiences of all ages, identities, and circumstances. In honor of their unwavering efforts, we extend our deepest gratitude to the following staff members who have served Phoenix Art Museum—and our shared community— for more than a decade.
Thank you.
Joel Ayala Security Officer
Jennifer Barnella Retail Director
Allie Bonin Berger Database Administrator
Christina Brown Senior Director of Development
Kali Caldwell Associate Corporate Giving Officer
Tom Cooper Maintenance Technician
Nikki DeLeon–Martin Deputy Director + Chief Advancement Officer
Veronica Garcia Lead Custodian
Amy Hernandez Assistant Security Manager
Helen Jean The Jacquie Dorrance Curator of Fashion Design
Sally Jordan Security Systems Administrator
Airi Katsuta Art Director
Scott Martin Director of Data + Research
Steve Oberhansly Director of Facilities + Operations
Andrea Peeck Security Dispatch Operator
Braden Pickering Security Dispatch Operator
Laura Schwemm Security Manager
John Shaw Senior Director of Human Resources
Kari Walters Associate Registrar of Exhibitions
Laura Wenzel Senior Director of Collections + Exhibitions
Rachel Sadvary Zebro Associate Curator of Collections
CREATIVE SUMMER
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AND SEW IT BEGINS
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Visit Us Anytime.
Through Bloomberg Connects, the free arts and culture app, you can enhance your experience in-gallery or engage with the PhxArt collection and exhibitions from the comfort of your own home, with stunning images, compelling video and audio tours, and behind-the-scenes insights.
Larry Bell Improvisations
Larry Bell, Untitled (2 x 3), 2021. Laminated glass coated with Inconel, SIO and Quartz. Larry Bell Studio, Courtesy of the artist and Anthony Meier, Mill Valley.