Portal, Summer 2018 by Portland Art Museum

SUMMER 2018

the shape of speed richard diebenkorn restored infanta marĂa ana

FROM THE DIRECTOR

19 NORTHWEST FILM CENTER

3 EXHIBITIONS & INSTALLATIONS

Summer Boot Camp

Portland Jewish Film Festival

The Shape of Speed

Top Down Rooftop Cinema

Richard Diebenkorn: Beginnings

Ingmar Bergman

Marvels.

APEX: Avantika Bawa

Su-Mei Tse

23 MEMBERS & PATRONS

Robbert Flick: Arena

Patron Exclusives

Minor White: Phase II

Just for Members

Suzuki Harunobu

Peer-to-Peer Mentorship

Picturing Oregon

Object Stories: One Step Away

Poetic Imagination in Japanese Art

27 PROGRAMS & ACTIVITIES

Modern American Realism

Exhibition Programs

Additional Programs

11 NEWS & NOTEWORTHY

Ongoing Programs

Public Programs

Infanta María Ana

Egyptian Scarabs

Museum Volunteers

Tips for Donating Art

35 GIFTS & GATHERINGS

45 CALENDAR

PORTAL, VOL. 7, ISSUE 2

Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-276-4249. For general information call 503-226-2811. The mission of the Portland Art Museum is to serve the public by providing access to art of enduring quality, by educating a diverse audience about art, and by collecting and preserving a wide range of art for the enrichment of present and future generations. COVER/OPPOSITE: 1934 Chrysler Imperial Model Cv Airflow Coupe, Photo: Peter Harholdt; Richard Diebenkorn, Untitled, 1949. Oil on canvas, © Richard Diebenkorn Foundation; Su-Mei Tse, L’ Echo, 2003, still from video projection, sound, 4 min 54 sec. Courtesy of the artist and Peter Blum Gallery, New York / Miller Meigs Collection; Suzuki Harunobu (Japanese, 1725?-1770), Ofuji at the MotoYanagiya with a female customer, ca. 1769, color woodblock print on paper, Bequest of Winslow B. Ayer, public domain, 35.40.

FROM THE DIRECTOR This summer, I am excited to welcome Portland once again to experience automobiles as rolling sculpture. Opening June 16 at the Portland Art Museum, The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942 presents 19 rare streamlined automobiles and motorcycles that demonstrate how designers translated the concept of aerodynamic efficiency into a captivating aesthetic experience of motion. Like The Allure of the Automobile seven years ago, The Shape of Speed celebrates great design that moves us. The exhibition is sure not only to rev up the enthusiasm of car lovers, but also to open visitors’ perspectives on the design around them. I am again grateful for the deep knowledge and passion of guest curator Ken Gross, the former director of the Petersen Automotive Museum and an esteemed authority on classic automotive design. Related events this season include Streamlined Sundays that will bring together car and automobile collectors in the Park Blocks, as well as throngs of bicyclists, walkers and others stopping on Sunday Parkways’ downtown route. One of the great pleasures of my work is seeing how the Museum connects people with their passions. Hundreds of our supporters volunteer for the Museum and Northwest Film Center, giving their time to help connect people with art in myriad ways, from checking tickets and coats, to helping ensure visitor safety, to conducting public tours that give visitors special insight into our collections and exhibitions. Some of these docent-led tours will be through this summer’s special exhibition Richard Diebenkorn: Beginnings, 1942–1955, which traces the artistic evolution of an important Portland-born artist. This is the Portland Art Museum’s place in our community: a place to discover the art that speaks to you, explore your passions, and give of yourself so other people can make their own deep connections. Thank you for the vital support you give—in time, in money, in energy and knowledge and enthusiasm. The Museum would not be the same without you.

Brian J. Ferriso The Marilyn H. and Dr. Robert B. Pamplin Jr. Director Chief Curator

Brian Ferriso touring the galleries with volunteers.

EXHIBITIONS & INSTALLATIONS

JUNE 16 – SEPTEMBER 16, 2018

The Museum is pleased to present The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942, a special exhibition featuring 19 rare streamlined automobiles and motorcycles. The concept of streamlining has fascinated people for generations. Beginning in the 1930s and extending until the outbreak of World War II, automotive designers embraced the challenge of styling and building truly streamlined cars that were fast and fuelefficient. They were encouraged by the confluence of aircraft design with the sleek shapes of fast railroad locomotives; new advanced highways such as the Autobahns; and events like the 1939 New York City World’s Fair, which showcased futuristic design. The Shape of Speed presents a select group of rare automobiles and motorcycles that demonstrate how auto designers translated the

1938 Talbot-Lago T-150-C-SS, photo: Michael Furman 4 PORTLAND ART MUSEUM

concept of aerodynamic efficiency into exciting machines that in many cases, looked as though they were moving while at rest. The Museum will display 17 cars and two motorcycles—the best of that era’s streamlined offerings—from Europe and the United States. Engineering drawings and period photographs will show some of the aircraft, railroad, ship, and yacht designs that influenced the automakers. Featured designers and engineers include European streamlining pioneer Paul Jaray, along with Richard Buckminster Fuller, Norman Bel Geddes, Raymond Loewy, Harley J. Earl, Hermann Ahrens, Georges Paulin, Joseph Figoni, Dr. Wunibald Kamm, Otto Kuhler, Jean Bugatti, Hans Ledwinka, Gordon Buehrig, and others. In contrast with the decades following World War II—when advanced aircraft and rocket designs propelled carmakers toward fanciful and impractical designs—the automobile

designs in the prewar period were more organic, emulating the classic teardrop shape thought, at that time, to be perfect for cheating the wind. The results were brought to life in cars with then-startling shapes that looked as though they were ready to be embraced and caressed. Even if they weren’t noticeably faster than their predecessors, they looked fast. In a few cases, the conservative public balked. Sales of well-known brands slipped, then recovered as consumers tentatively embraced and then accepted this brave new look. The design influence of streamlining was felt far beyond automobile styling in this period. The school of architecture now known as Streamline Moderne had an effect on the shape of radios, appliances, transport trucks, and railroad locomotives, along with such disparate items as table flatware, water pitchers, toasters, pencil sharpeners, and cocktail shakers. A few of the automotive marques featured in The Shape of Speed include Mercedes-Benz,

who have restored one of the carmaker’s Stromlinienwagens (streamlined cars) from 1938, along with Bugatti, BMW, Alfa Romeo, Talbot-Lago, Delahaye, Cord, and Chrysler. In addition, The Shape of Speed includes two motorcycles: a radically streamlined Henderson KJ and a BMW concept R7 motorcycle that was developed in the mid-1930s, lost for decades in a missing crate, recovered in 2005, and completely restored. The latest exhibition in the Portland Art Museum’s design series, The Shape of Speed is guest curated by Ken Gross, former director of the Petersen Automotive Museum in Los Angeles. Gross previously curated the Museum’s 2011 exhibition The Allure of the Automobile, which enthralled visitors with its lavish presentation of automobiles as kinetic art—a form of rolling sculpture. With this new exhibition, the Museum opens the door to another fascinating exploration of automotive design.

“The Shape of Speed celebrates great design that moves us,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director and Chief Curator of the Portland Art Museum. “During the Great Depression, the forwardleaning, beautiful designs of streamlined vehicles were aspirational, inspiring a sense of hope for the future. We look forward to bringing that excitement to Portland again.” The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942 is accompanied by a range of related programs and events, as well as a comprehensive catalog. For more information and updates, please visit the Museum’s website. Organized by the Portland Art Museum. Guest curated by Ken Gross. MAJOR SPONSORS: The Standard; Melvin Mark Companies; Nani S. Warren / The Swigert Warren Foundation; Washington Trust Bank; Mr. and Mrs. William A. Whitsell; Sports Car

Market 30th Anniversary Tour: Richard Duffy, Tim Gallagher, Bob Bailey/Archie Urciuoli, Dan & James McCallum; Daimler Trucks North America; Mercedes Benz of Portland – Mercedes Benz of Beaverton; Provenance Hotels. SHAPE OF SPEED SOCIETY: Robert and Kathleen Ames; Mr. Ken Austin; Jerry Lloyd Baker and Janet Geary ; Kevin Blount; Bonhams; Mr. and Mrs. Roger Burpee; Lana and Christian Finley; Eric and Jan Hoffman; Mr. Keith Martin; Merrill Lynch Private Banking & Investment Group; Mr. Mark J. and Dr. Jennifer Miller; Julie and Peter Stott; The Portland Trail Blazers; AAA Oregon/Idaho; Tom and Molly Clarey; Downtown Development Group; Ron and Ann Emmerson; Mark and Katherine Frandsen; Leona and Patrick Green; hivemodern.com; Heather Killough and Christian Sellerson; Elizabeth Lilley; Greg and Cathy Tibbles; Jim and Susan Winkler; Mr. Jerry Logan; The Flowerree Foundation; Mr. and Mrs. Anthony Belluschi.

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RICHARD DIEBENKORN: Beginnings, 1942–1955 JUNE 16 – SEPTEMBER 23, 2018

Featuring 100 paintings and drawings from the collection of the Richard Diebenkorn Foundation, Richard Diebenkorn: Beginnings, 1942–1955 traces the Portland-born artist’s evolution from representational landscape, to Surrealist-inspired work, to his Abstract Expressionist paintings. Best known for his Ocean Park series begun in the second half of the 1960s, Diebenkorn was a prodigiously talented young painter. This exhibition brings together seldom seen works to illustrate the breadth and depth of this preeminent American artist’s early years. Beginnings is the first exhibition to focus solely on the work Diebenkorn made prior to his decisive turn to figuration in the late 1950s. In addition to considering his early thematic and stylistic evolution, the exhibition also examines Diebenkorn’s technical origins in oil, watercolor, gouache, ink, crayon, and collage. The chronological focus demonstrates the environments and individuals that influenced him, beginning with his years as a student and his time in the Marines, through his early professional years in Sausalito, California, and his academic positions in Albuquerque, New Mexico, and Urbana, Illinois, before his return to the Bay Area.

Diebenkorn once remarked, “I think what one is about now has intimately to do with what one did yesterday, ten years ago, thirty years ago. Just as you can continue that progression, what somebody else did, forty years earlier, a hundred years earlier, I think that’s what one as an artist probably is.” This sentiment brackets the circuitous evolution that is clearly felt in the exhibition. In works made during the 13-year span covered in Beginnings, viewers will see how deftly Diebenkorn learned from a broad range of influences—from the social realism of Edward Hopper to the cubism of Georges Braque— adapting line, color, form, or process selectively as he developed his own artistic voice.

A landmark contribution to the study and understanding of Diebenkorn’s work, Beginnings and its companion catalog reveal the forces that shaped the young artist, including works that range from World War II drawings and watercolors of soldiers, to abstractions that unite the forms of Surrealism and the fractured planes of Cubism, to gestural works on paper. The exhibition concludes with one of the artist’s first mature figurative paintings, his 1954 Untitled (Horse and Rider), laying the foundation for the representational drawings and paintings for which Diebenkorn earned wide renown.

Exposure to ideas, artworks, and other artists was catalytic for Diebenkorn, whether he was visiting East Coast museums during his military service or wrestling with the non-referential, pure abstraction of Abstract Expressionist artists like Clyfford Still. The elder Still was a looming figure in Diebenkorn’s circle after World War II, and like others, the younger artist labored to differentiate his work from Still’s example. At this moment, Diebenkorn found a touchstone in the decorative color and calligraphic line of Henri Matisse, and his formal and intellectual engagement with the French artist’s work would continue throughout his career. Like Matisse, Diebenkorn never fully strayed from referencing

LEFT: Richard Diebenkorn, Untitled, 1949. Oil on canvas, 45 1/8 x 37 3/8 in. (114.6 x 94.9 cm). Catalogue raisonné no. 665 © Richard Diebenkorn Foundation; TOP: Richard Diebenkorn, Untitled, 1945. Watercolor and ink on paper, 9 x 11 7/8 in. (22.9 x 30.2 cm). Catalogue raisonné no. 350 © Richard Diebenkorn Foundation.

landscape and figure in his work. When he returned to Berkeley in 1953, he embraced this predilection and reconnected with the nascent Bay Area figuration scene. As he recalled, “For someone who was intending to continue as an abstract painter, I was clearly consorting with the wrong company.” Richard Diebenkorn: Beginnings, 1942–1955 is accompanied by a catalog by curator Scott Shields, Ph.D., Associate Director and Chief Curator at the Crocker Art Museum, which coorganized the exhibition. Dr. Shields will deliver a lecture on September 8 (see page 29). For more information, please visit the Museum’s website. Organized by the Richard Diebenkorn Foundation in conjunction with the Crocker Art Museum. Curated in Portland by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. SPONSORS: Nani S. Warren / The Swigert Warren Foundation; Ed Cauduro Fund of the Oregon Community Foundation; Wolf Kahn and Emily Mason Foundation; Exhibition Series Sponsors.

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WE.CONSTRUCT.MARVELS.BETWEEN.MONUMENTS MARVELS. ON VIEW THROUGH JULY 8, 2018 BETWEEN. ON VIEW JULY 20 – OCTOBER 14, 2018

Launched in November 2017, this dynamic series of contemporary art exhibitions and programs is bringing a range of artistic voices into the Museum. Visiting artistic director Libby Werbel has worked with staff members from the curatorial and education departments to engage artists in questions about institutional representation, alternative exhibition models, and what it takes to create a museum that is artist-centered and inclusive in its practices. The first exhibition, We., highlighted six artists from Public Annex, Outpost 1000, Oregon Supported Living Program, and Albertina Kerr Centers, regional programs supporting artists with disabilities. Co-organized by Werbel and Public Annex with curatorial assistance from Sonya Hamilton, We. created space for dialogue around how art world institutions can more thoughtfully integrate the work and the perspectives of artists of all abilities. This past spring’s exhibition construct. was co-curated by artists keyon gaskin and sidony o’neal. This exhibition introduced an alternative use of space that sought to deconstruct the exclusionary practices embedded in art institutions. A musical soundtrack, posters sourced from blackartdepot.com, and visitor engagement prompts invited contemplation

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on other value systems existing outside of the institutional setting. Performances by Wine + Coffee, Wizard Apprentice, and Tropic Green instilled the space with sonic and physical vitality. On view through July 8, Marvels. activates the Museum’s first acquisition of social practice art, NotMoMA. This work by conceptual artist Stephanie Syjuco investigates how museum collections are accessed and how museums shape notions of value and originality. Syjuco asks students to remake artworks from the Museum of Modern Art (New York) collection by studying them on MoMA’s website. Werbel has engaged three curators of independent art spaces in Portland—Melanie Flood of Melanie Flood Projects, Mercedes Orozco of Una Gallery, and Shir Ly Grisanti of c3:initiative— and art students from Jefferson High School, Gresham High School, and Reynolds High School, to select and re-create artworks for the exhibition. This project bridges gaps in students’ understandings of “high art” and invites them to access the works via their own do-it-yourself vision. C3:initiative, located in the St. Johns neighborhood, will host an auxiliary exhibition featuring documentation of the process to mount NotMoMA, and programs addressing art and community engagement,

with Stephanie Syjuco. Works Progress Agency (Emily Fitzgerald and Erica Thomas) has provided production support and photography. Between. opens July 14 and focuses on artists working within the queer diaspora and “in between” gender-normative identities. The exhibition proposes new ways of curating and representing the work of LGBTQI artists distinct from the normative domain of the museum. Chris E. Vargas and his project The Museum of Trans Hirstory & Art (MOTHA) present a selection of film and video works by transgender artists. Accompanying the media works is a group exhibition selected through a chain-letter-style invitation, intended to subvert curatorial authorship and foreground narratives that exist within, around, under, and/ or in opposition to the patriarchal hierarchy presented in art institutions. We.Construct.Marvels.Between.Monuments. is organized by visiting artistic director Libby Werbel in collaboration with the Museum’s curatorial and education departments. Funding is provided in part by the Miller Meigs Endowment for Contemporary Art, The Arlene and Harold Schnitzer Endowments for Northwest Art, and the Artist & Participatory Programs Fund of the Education Department.

Avantika Bawa AUGUST 18, 2018 – FEBRUARY 10, 2019

APEX presents a new body of work by Portland-based artist Avantika Bawa. Looking at a singular Portland architectural structure, she presents her ongoing series of drawings, prints, and large panel paintings of the Veterans Memorial Coliseum. Bawa combines her long interest in architecture and geometry as a subject in her work with a focus on this modernist building of the International Style. Designed by the architectural firm of Skidmore Owings and Merrill, the Coliseum was completed in 1960. Bawa first began working with the architecture of the Coliseum as a subject in 2015 for the 30th anniversary of the Visual Chronicle of Portland, a city-owned collection of works on paper commissioned by the Regional Arts

and Culture Council. The APEX exhibition continues Bawa’s fascination with the Coliseum’s grids, lines, colors, and mass. As a result, the study of the Coliseum has continued to be an examination in abstraction and memory of a place through the inquiry of its form. In collaboration with Ampersand Gallery, Bawa also will produce a limited-edition artist book to accompany the exhibition. APEX is an ongoing series of exhibitions of Northwest-based artists, curated by Grace KookAnderson, The Arlene and Harold Schnitzer Curator of Northwest Art. The APEX series is supported in part by The Arlene and Harold Schnitzer Endowments for Northwest Art and the Exhibition Series Sponsors.

SU-MEI TSE L’Echo MAY 5 – OCTOBER 28, 2018

Su-Mei Tse (born Luxembourg, 1973) trained as a classical cellist in a family of musicians. As a visual artist, her work unites sound, image, and body in a quest to communicate a universal language that exists beyond words. L’Echo (2003) finds the artist and her cello near the edge of a vast mountain canyon. She bows her instrument, listens and waits, then begins to play a duet with the resulting reverberations in the landscape. The moment instills wonder and inspires a physical and psychic connection to the sublime. This acclaimed work won the Golden Lion award for best national pavilion (Luxembourg) at the 2003 Venice Biennale. The video is on loan from the Miller Meigs Collection and is courtesy of the artist and Peter Blum Gallery. Curated by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art.

ABOVE: Avantika Bawa , Coliseum 01, Graphite and pastel on paper, 2015; RIGHT: Su-Mei Tse, L’ Echo, 2003, still from video projection, sound, 4 min 54 sec. Courtesy of the artist and Peter Blum Gallery, New York / Miller Meigs Collection; LEFT: Photo: Emily Fitzgerald / worksprogressagency.com.

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ROBBERT FLICK: Arena

SUZUKI HARUNOBU AND THE CULTURE OF COLOR

THROUGH OCTOBER 28, 2018

When Netherlands-born Robbert Flick first moved to Los Angeles in 1968, the carcentric nature of the sprawling American city immediately influenced his photographic practice. Between 1977 and 1979, he photographed the multi-level parking garage located behind his Inglewood studio almost exclusively. Arena, the resulting series of this dedicated two-year study, is a conceptual counterpoint to the exhibition The Shape of Speed, demonstrating the starkly complex and beautiful systems that support car culture. Devoid of both cars and people, Flick’s blackand-white photographs treat the parking structure as a system of lines, angles, masses, planes, and contrasts. Weighty concrete engages with sinuous steel cables, while the strong California sun casts severe shadows on the vertical and horizontal surfaces, occasionally assisted by bare fluorescent lights. Far from a dull description of a garage, the Arena series encourages even the most jaded of car commuters to pay close attention to the modern functional architecture that surrounds us. Organized by the Portland Art Museum and selected from the collection of the Wilson Centre for Photography. Curated by Julia Dolan, Ph.D, The Minor White Curator of Photography.

JUNE 23 – SEPTEMBER 16, 2018

IN THE BEGINNING: Minor White’s Oregon Photographs PHASE II ON VIEW THROUGH OCTOBER 21, 2018

The Museum’s critically praised exhibition of early works by Minor White (American, 19081976) continues with a second selection of rarely exhibited images of Oregon by the renowned modernist photographer, created between 1938 and 1942. The second phase of In the Beginning presents approximately 60 photographs featuring scenes of downtown Portland and Front Street, photographs of Eastern Oregon, and images of two historic homes White photographed for the Museum in 1942. That same year, the Museum gave White his first solo exhibition and launched its permanent photography collection by accessioning the Portland waterfront photographs White made for the Works Progress Administration. In the Beginning is “a tribute to a photographer who was a local hero before he became a national one,” wrote critic Richard Woodward in The Wall Street Journal. Organized by the Portland Art Museum and curated by Julia Dolan, Ph.D., The Minor White Curator of Photography. Supported by The Kinsman Foundation.

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Young lovers, fashionable beauties, parodies of classical themes, and sweet scenes of everyday life: these were the chosen subjects of Suzuki Harunobu’s (1725?-1770) explosively popular nishiki-e (brocade prints). Produced in the full-color printing technique, nishiki-e replaced designs limited to two or three colors. Harunobu’s short but prolific career made a lasting mark on the history of Japanese prints. Thereafter, the culture of color—increasingly saturated, sophisticated, and technically superb—was firmly embedded in the visual culture of prints. This focused exhibition investigates Harunobu’s contributions to the culture of color—and our discussions of his legacy ever since. Exploring the artistry of his clever, elegant prints, it presents highlights of the permanent collection, including many designs that are now extremely rare or the only known impression. The exhibition will incorporate new scientific research into the physical materials of these important prints. This collaboration between Tami Lasseter Clare, Ph.D., of Portland State University, curator Jeannie Kenmotsu, Ph.D., and Museum conservator Samantha Springer will offer another perspective on the culture of color. Organized by the Portland Art Museum and curated by Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator for Japanese Art.

OBJECT STORIES: One Step Away JUNE 30 — NOVEMBER 25, 2018

This summer and fall, the Object Stories gallery hosts an exhibition concentrating on viewpoints of local persons who have experienced housing disparity. To better share these perspectives, Object Stories has partnered with Outside the Frame to produce the exhibition. Outside the Frame is a local nonprofit empowering homeless and marginalized youth to educate the public about issues they face by producing films that convey their experience.

PICTURING OREGON PHOTOGRAPHS BY SARAH HALL LADD AND MYRA ALBERT WIGGINS NOW ON VIEW PHOTOGRAPHS BY DREX BROOKS ON VIEW IN AUGUST 2018

Picturing Oregon continues celebrating the geographic diversity of Oregon in recognition of the Museum’s 125th anniversary. The current rotation of photographs in this exhibition features works by Myra Albert Wiggins (1869-1956) and Sarah Hall Ladd (1857-1927), photographers with national recognition who were accepted into the Photo-Secession group led by Alfred Stieglitz (18641946). Along with Lily White (1866-1944), who was featured in Picturing Oregon earlier, these three women photographers firmly represented the Pacific Northwest in this prestigious group. A daughter-in-law of early Museum supporter Caroline Ladd, Sarah Hall Ladd was part of regular excursions organized by the Oregon Camera Club, visiting many of the region’s landmarks such as Rooster Rock, Cape Horn, and Multnomah Falls. They regularly traveled by steamboat up the Columbia River, drawn to dramatic landscape scenes. In contrast, Wiggins considered herself first a professional painter, turning her eye not only to photographing landscapes, but domestic and travel scenes as well. She often used her daughter, Mildred, as a subject in her photographs. In August, a third rotation will feature Eastern Oregon landscape photographs by Drex Brooks, looking at mostly ranch life and scenes from the 1980s. Organized by the Portland Art Museum and curated by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art.

TOP: Sarah Hall Ladd (American, 1857-1927), Gateway to the Inland Empire, 1903/1905, platinum print, gift of the Portland Art Museum Volunteer Art Council and Ann Swindells in honor of Joyce Anicker, 1997.2.4; FAR LEFT: Robbert Flick, AR 77171-13, 1977-79, gelatin silver print, © Robbert Flick; LEFT/CENTER: Minor White (American, 19081976), Arches of the Dodd Building (Southwest Front Avenue and Ankeny Street), 1938, gelatin silver print, courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration. Commissioned through the New Deal art projects, L42.3.39; LEFT: Suzuki Harunobu (Japanese, 1725?-1770), Ofuji at the Moto-Yanagiya with a female customer (detail), ca. 1769, color woodblock print on paper, Bequest of Winslow B. Ayer, 35.40.

Object Stories is a personal storytelling project and exhibition series hosted by the Portland Art Museum. Upon its launch in 2010, Object Stories became the first of its kind in the museum field and continues to innovate today. The project has grown the application of storytelling with objects from a way to interrupt the traditional authoritative museum voice into a platform where Portland and the Pacific Northwest’s many communities can directly address issues affecting their lives. Object Stories helps drive the Portland Art Museum to become a safe and responsive space open for dialogue, conversation, and the exchange of ideas.

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COMING IN FALL 2018

MODERN AMERICAN REALISM Highlights from the Smithsonian’s Sara Roby Foundation Collection OCTOBER 20, 2018 – APRIL 28, 2019

POETIC IMAGINATION IN JAPANESE ART Selections from the Collection of Mary and Cheney Cowles OCTOBER 13, 2018 – JANUARY 13, 2019

Poetry lies at the heart of Japanese culture. Since ancient times, artists in Japan have expressed the most profound emotions and the most nuanced responses to the human condition in verse. The ability to turn a phrase has been a mark of social status, a way to woo a lover, and a means to express shared heritage and values. The more than one hundred works in this exhibition illuminate how poetry—in both Japanese and Chinese—has taken visual form in Japan. Drawn from one of the finest private collections in North America, the paintings and calligraphy in Poetic Imagination span from the eighth through the 20th century and represent courtly, Buddhist, and literati spheres of artistic activity. Most of them are unveiled to the public for the first time here. Organized by the Portland Art Museum. Curated by Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art, with Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator of Japanese Art, and Sangah Kim, Cowles Curatorial Fellow in Asian Art. Supported in part by Mary and Cheney Cowles; The Japan Foundation; Asian Art Council of the Portland Art Museum; The E. Rhodes and Leona B. Carpenter Foundation; Donald Jenkins Fund for Visiting Scholars; Mildred Schnitzer Memorial Fund; The Metropolitan Center for Far Eastern Art Studies; and the Exhibition Series Sponsors

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LEFT: Yosa Buson (Japanese, 1716–1783), Thatched Retreat on Cold Mountain (detail), early to mid-1770s, hanging scroll, ink and color on silk. Courtesy of Mary and Cheney Cowles, L2017.67.39; RIGHT: Edward Hopper, Cape Cod Morning, 1950. Oil on canvas, 34 1/8 x 40 1/4 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation.

A selection of treasured artworks from the permanent collection of the Smithsonian American Art Museum, Modern American Realism includes 70 paintings and sculptures from the 1910s to the 1980s that encompass the range of what can broadly be called modern realism, from sociopolitical to psychological, from satirical to surrealist. Drawn from works collected by the Sara Roby Foundation, the exhibition includes works by Will Barnet, Isabel Bishop, Paul Cadmus, Arthur Dove, Edward Hopper, Wolf Kahn, Yasuo Kuniyoshi, Jacob Lawrence, Reginald Marsh, and Honoré Sharrer, among others. Modern American Realism: Highlights from the Smithsonian’s Sara Roby Foundation Collection was organized by the Smithsonian American Art Museum with generous support from the Sara Roby Foundation. The C.F. Foundation in Atlanta supports the museum’s traveling exhibition program, Treasures to Go.

NEWS & NOTEWORTHY

A ROYAL ARRIVAL Restored Infanta María Ana reigns in the European Galleries By Dawson Carr, Ph.D. The Janet and Richard Geary Curator of European Art A magnificent royal portrait from Spain’s Golden Age, Felipe Diriksen’s Infanta María Ana de Austria (1630), is now on view in the Museum’s Meier Family Gallery. Thanks to the generosity of 28 donors, including a lead gift from Helen Jo and Bill Whitsell, the Museum acquired the 17th-century painting in 2017 and last fall began a five-month process of restoration and reframing to bring it back to its regal glory. Signed and dated 1630, Diriksen’s Infanta María Ana depicts the beloved sister of King Philip IV, one of the greatest patrons and collectors of his day. Virtually from birth, the Infanta (princess) had many suitors. Famously, she was courted by the Prince of Wales (later Charles I of England), who paid a surprise visit to Madrid in 1623, but his Protestant faith proved an insurmountable obstacle. Diriksen’s portrait was painted as the Infanta departed from Madrid to marry her Habsburg cousin, Ferdinand III, King of Hungary and Bohemia, and later Holy Roman Emperor. Philip IV’s principal portraitist, Diego Velázquez, was on extended leave in Italy, so the commission went to Diriksen, a little-known court painter, who produced his finest work to commemorate the moment the Infanta left her family for a new life in distant Vienna. Portraits of the Spanish Habsburgs were calculated to convey exalted status. The subjects were usually presented unpretentiously standing before a swag of drapery and engaging the viewer directly. Crowns or other symbolic trappings of

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Felipe Diriksen (Spanish, 1590-1679), Portrait of Infanta María Ana de Austria, 1630, oil on canvas, public domain, 2017.59.1

honor were deemed superfluous because the royal image alone was thought to communicate innate majesty. The impassive expression was a required feature of Habsburg decorum in life as well as art. Males usually wore black, but there was no restraint in the display of women’s splendid clothing and jewelry. The Infanta’s exquisite cherry-red satin gown is embroidered in gold and silver and studded with gems. At this moment of realism in art, the mark of the farthingale, or hooped skirt, breaks up the expanse of fabric in the front. In addition to the finger rings and the lavish double strand of pearls, one of the grandest jewels in the royal collection is pinned on her bodice. It included a large diamond and the famous pear-shaped pearl, known as La Peregrina, which gained further renown when it was bought by Richard Burton for Elizabeth Taylor in 1969.

A generous grant from the Robert Lehman Foundation funded a muchneeded restoration of the painting and assisted in the creation of an appropriate frame. As illustrated by the photograph of the cleaning in progress (at right), the painting was greatly diminished by dirty, discolored coatings of varnish and glue. In the expert hands of local restorer Nina Olsson, the true qualities of the rich colors and textures were slowly revealed. It was also discovered that the solid background as well as the floor had been painted over in distinctly darker colors by a later hand. The removal of the overpainting has restored the chromatic harmony of the painting and the sense of space around the figure. The Seattle frame maker Richard Boerth created a frame fit for a queen based on 17th-century Spanish types. The frame was designed to cover later additions to the canvas so that it can now be seen in its original format.

The acquisition of the Infanta María Ana during the Museum’s 125th anniversary reflects the evolution of European art collecting for this institution, efforts that will continue to provide new treasures for our visitors to see for years to come. This acquisition was made possible by the generosity of Mr. and Mrs. William A. Whitsell; European and American Art Council; John S. Ettelson Fund of the Oregon Community Foundation; The Swigert Warren Foundation; May Van Dyke Fund; Laura S. Meier; Marilyn Podemski; Richard and Janet Geary Foundation; Ann Flowerree; Carol Ann and Kent Caveney; James FitzGerald and Karen Howe; Lisa and Shawn Mangum; George and Barbara Dechet; Sharon and Keith Barnes; Dawson W. Carr; Don and Linda Van Wart; Dr. Maribeth Graybill; Janet Louvau Holt; Robert Trotman and William Hetzelson; Charles and Ruth Poindexter; David Barnard and Akiko Hashimoto; Calvin M. Hennig; LaValle S. Linn; Mrs. Mary Cecilia Becker; Dorothy McBarron; Maureen Moller; and the European Art Purchase Fund. Restoration supported by the Robert Lehman Foundation.

PORTLAND ART MUSEUM 15

REDISCOVERY OF MUSEUM EGYPTIAN SCARAB COLLECTION The Museum recently completed a yearlong project with local Egyptologist John Sarr to catalog and digitize its important collection of more than 1,350 ancient Egyptian scarabs and seals. In March, Sarr delivered a well-attended lecture about the fascinating history of the Museum’s Gayer-Anderson Collection of Ancient Egyptian Scarabs and Seals. An independent scholar, writer, and teacher specializing in the ancient Egyptian hieroglyphic language and funerary arts, Sarr is also the founding president of the Oregon chapter of the American Research Center in Egypt. He rediscovered the Museum’s collection when he moved to Portland in the 1990s and—realizing the collection’s significance from its history and content—set about to document the collection by creating a catalog of drawings of each item. This work led to the public display of approximately 100 scarabs during the Museum’s 1998 exhibition, Splendors of Ancient Egypt. Although the Museum’s scarab collection is one of the oldest collections at the Museum— having been accessioned in 1929—and a significant collection in the Egyptological field, it has been little understood and documented over the years. Through a yearlong partnership between the Museum and Social Venture Partners Portland, Sarr has spent more than 1,000 hours working closely with members of the Museum’s Library

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and Collections Information and Collections Management teams to examine each individual object, perform new research, and create complete catalog records in the Museum’s collections database. The result of this work is a publicly accessible, digital catalog of the Museum’s extensive collection, which is now freely available online for viewing and research on the Museum’s Online Collections website. At any given time, approximately 3 percent of the Museum’s encyclopedic permanent collection of more than 50,000 objects is on view in the physical galleries. Museum curators decide which artworks to display based on several factors, ranging from thematic content related to exhibitions to physical properties such as light sensitivity, which limits the length of time an artwork can be on display. To increase access to the tens of thousands of artworks that are not currently in the galleries, Museum staff work tirelessly to photograph, catalog, and digitize artworks so that scholars and the public can view and study them digitally. The Museum’s world-class scarab collection was a perfect candidate for this work since it is unlikely to be on view in the near future, but is of great interest to both the global scholarly community and the Museum’s broader audiences. With the addition of these important works to the Museum’s Online Collections, nearly half of the Museum’s entire permanent

collection is accessible online. New works are added to Online Collections every day. Online catalog records include measurements, materials, dates, and detailed descriptions of the typology and design of each individual scarab or seal. Many scarabs in the Museum’s collection date back as far as 5,000 years, and most are smaller than 1 inch in length. These objects were used during life as seals or amulets, and in death as a means of securing an afterlife; the motifs and inscriptions on these carved gems reveal much about ancient Egyptian life and beliefs. The Museum plans to continue adding scholarly content to this online collection, including illustrated glossaries of stylistic and design motifs, definitions of important terms and historic figures, and improved photographs. Sarr’s invaluable scholarly contribution to the Museum was made possible thanks to an Intelsponsored Encore Fellowship through Social Venture Partners Portland. To learn more about the outstanding work Encore Fellows do with nonprofit organizations across sectors, visit socialventurepartners.org/portland.

Egyptian artist, Scarab with Name of Thutmosis III (Menkheperre), New Kingdom (1540-1075 BCE), light brown steatite with traces of green glaze, The Gayer-Anderson Collection of Ancient Egyptian Scarabs and Seals; gift of many donors in memory of Albert E. Doyle, 29.16.1160.

GIVING TIME The Museum’s many volunteers are essential to its success. Volunteers have played a critical role in the Museum’s success and evolution over the past 125 years, with thousands committing countless hours of service. As the Museum continues to grow and expand to meet the needs of the community, so too do the volunteer programs. More than 900 supporters give their time to the Portland Art Museum and Northwest Film Center. Many work closely with visitors, whether giving docent-guided tours, checking coats and bags at the admission desks, or helping ensure visitor safety in the galleries. The Museum also relies on volunteers in important roles behind the scenes, including serving on the Board of Trustees, board committees, and Art Councils. Volunteers help to ensure that visitors have an inspiring, educational, and inclusive experience. Docents (or tour guides) are on-site each day to greet students, families, and adults and to facilitate conversations between visitors and the art. Docents see their role as fostering a sense of community in the Museum while sharing their knowledge and passion through tours.

“Volunteering as an art museum docent has been a childhood dream (really!),” said docent Sally Peters. “As a docent I enjoy the ongoing learning and sense of community that PAM offers. What I find most meaningful are the thoughtful conversations I have with visitors; it is a pleasure and a privilege when they share ABOVE: Docent Karen Alexander-Brown gives a guided tour to visitors. RIGHT: PIFF 41 volunteers check in guests for the opening-night screening and party;.

their insights and experiences. This always leaves me feeling uplifted and further reminds me of the importance of having art in our lives.” When the Museum’s Rental Sales Gallery first opened in 1959, it was entirely run by volunteers of the Women’s Council of the Museum. Now, gallery manager Jennifer Zika and supervisor Tianna Lewis are assisted by about 80 volunteers in renting and selling works by local artists. “We couldn’t run this operation without the loyalty and dedication of our volunteers,” says Zika. “Each volunteer contributes unique knowledge and skills in the arts.” The Portland International Film Festival is another prominent effort that is successful thanks to its many volunteers. More than 300 people give time to the Northwest Film Center’s renowned annual festival, which screens about 200 films for 40,000 film lovers during its two-week run. “From answering telephones and providing critical information to filmgoers in the advance ticket outlet, to ushering, line control, and ticket-taking at the theaters themselves, our volunteers continue to inspire us with their unflagging dedication and enthusiasm for the festival and international film,” said Micah Vanderhoof, Theater Manager for the Northwest Film Center. In the past year, the Museum has focused on integrating volunteers more closely with its operations. This year’s volunteer appreciation week included talks with Director Brian Ferriso

and Museum curators, as well as movie and trivia nights with fun treats and prizes. “Engaging our volunteers’ energy and commitment goes hand in hand with the Museum’s mission of engaging visitors in unique and meaningful ways,” said Lisa Hoffman, Director of Membership, Guest Services, and Volunteer Services. “The Museum brings people together for a rewarding cultural and social experience.” “I volunteer because I have a place to wear cute clothes and meet people with an appreciation for artwork,” said volunteer Jacqueline Hudson. “It’s also a place to use my right brain and be pensive about design ideas. Three-and-a-half years later, I have grown in knowledge of artists past and present and I acquired a taste for art that I never knew I had.” Hoffman said the volunteer programs are an important part of the Museum’s current work to broaden outreach, including partnerships with community organizations and civic-minded local companies. “Our goal is for people to see themselves in the Museum, as part of their own cultural life,” Hoffman says. Learn more about Museum volunteer opportunities at portlandartmuseum.org/ volunteer. Learn more about Museum Art and Docent Councils at portlandartmuseum.org/ councils.

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THE GIFT OF ART Tips from an estate planning attorney on donating art and other tangible personal property. BY GINGER SKINNER, SKINNER LAW

The Portland Art Museum has received about 90 percent of the art in its collections from individuals seeking to make a meaningful donation and to give back to their community. It’s impossible to walk through the Museum without seeing contributions from many local families, starting with the Museum’s first gift, Henry Corbett’s 1895 donation of $10,000 to purchase casts of Greek and Roman sculptures. More recently the Museum received The Ox-Cart by Vincent Van Gogh, donated by longtime Oregon residents who decided to share the work with the public. When the owners first approached the Museum, they didn’t name the famous artist. The Museum received a call saying the Sohn family of Roseburg “had a painting and they weren’t sure what to do with it.” Only after an extended conversation did the family mention that the painting was by Van Gogh. Because displaying art is a core purpose ofthe Museum, this gift of tangible personal property—artwork— qualified for an income tax deduction equal to its current fair market value. Whether giving art outright or donating cash, there are many options to choose from when supporting museums. There are a few practical tips, however, to keep in mind when donating art: Communicate early and thoroughly. Make sure the charity wants the art. Once the charity accepts the art, the charity has

an ongoing duty to preserve the artwork. The charity will not undertake this responsibility lightly. If you care about tax consequences: The charity should provide a written acceptance of your gift, indicating that the organization is a qualified public charity and satisfies the related-use rule regarding the particular donation and intends to use the gift in a manner related to its tax-exempt status. When picking art to donate and hoping to maximize your income tax deduction, it is better to select a piece of artwork with value that has appreciated rather than remained constant or declined. If the deduction for the artwork is $5,000 or more, the donor must engage a qualified appraiser, and the appraiser must complete paperwork prior to the donor claiming a deduction on a tax return.

contribution was made to a public charity. Take advantage of the charity’s planned giving expertise. Many nonprofit charities have informative resources regarding planned giving options. They can provide a helpful opportunity for a prospective donor to brainstorm prior to consulting his or her attorney or CPA. Please contact Karie Burch at karie.burch@pam.org or visit portlandartmuseum.org/plannedgiving for more information about including the Portland Art Museum in your estate plans. Excerpted from Ginger Skinner’s article in the Portland Business Journal special section “Estate and Charitable Giving 2018.” Reprinted with permission.

Donate to a public nonprofit. In most cases a donor of appreciated art objects to a private charity will receive a deduction limited to his or her cost. That same donor, however, would be allowed to deduct the full fair market value, if the Vincent van Gogh (Dutch, 1853-1890), Charrette de boeuf (The Ox Cart), July, 1884, oil on canvas, gift of Fred and Frances Sohn, public domain, 2007.68

NORTHWEST FILM CENTER

SUMMER BOOT CAMP Media Arts Academy for Teens offers an immersive course in storytelling on film. The words “boot camp” may not seem to correlate with arts education and independent filmmaking, but the Northwest Film Center has used the term to describe its Media Arts Academy for Teens since it first began in the summer of 2000. The Academy is the most immersive learning experience in filmmaking that the Film Center offers teens. Two identical sections are being offered in July and August as part of the Center’s Film Camp for Kids + Teens program. This year’s other offerings for teens are Screenwriting, Computer Animation, Digital

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Cinematography, 16 mm Film, and Digital Editing. “Boot camp” refers to the Academy’s intensive schedule and focused intentions. Over just eight days, 15 teens from the Portland area and beyond work with Film Center faculty to write, cast, act, design sets and costumes, scout locations, shoot, direct, edit, and score an original short film together. Enrollment is by interest. There are no prerequisites. The film screens in the Center’s Whitsell Auditorium, inside the Museum, to an audience of friends and family.

“I want them to learn that filmmaking is a language and they are each free to develop their unique use of that language,” shares filmmaker Brian Lindstrom, the Academy’s originating instructor. “I want them to learn that filmmaking is collaborative, but it demands that your personal vision be effectively communicated to a crew and actors.” “I learned that filmmaking is not as easy as it looks,” recalls William Kmiecik, a self-identifying film trivia buff who enrolled in the academy as a high school student in 2010. “I was a director for some of our film’s scenes and I was quite intimidated. But after a few deep breaths and a moment to clear my head, I continued to shoot.” That can-do attitude has served Kmiecik well. He recently graduated in marketing from Oregon State University TOP: Students participating in the Media Arts Academy for Teens develop into an enthusiastic team during the filmmaking activities; TOP/RIGHT: Film Center faculty Brian Lindstrom’s coaching of student Katie Rasmussen helped her start a robust career in film production.

and served as a marketing intern for this year’s Portland International Film Festival. Kitty Noowong enrolled in her last year of high school in 2014. “I had always been interested in making films, but I wasn’t sure it was something I should pursue as a career,” she says. “When the program ended, however, I knew that this is what I wanted to do.” She expects to graduate from Portland State University in film and business in 2019, and has already had one of her short documentaries in several film festivals around the country. “We bonded quickly,” she says of her academy classmates. “I still keep in contact with all of them!” “The Teen Academy opened up a whole world of problem solving and gave me a window to all the positions available on a film set,” shares Katie Rasmussen, who enrolled as a high school junior in 2001. She fell in love with everything involved in selecting and managing her class’s filming locations, a world previously unknown to her. Her interest led to adult-level classes at the Film Center and a college degree in 2006. Since then she has worked professionally as a locations manager for such entities as HBO, Netflix, and NBC, including the locally shot series Grimm. Even though the Academy might inspire college study or help to launch a career, in the end, says Lindstrom, “I want [students] to learn that stories are how we interpret the world, and that students matter and their stories matter. They don’t know each other or much about filmmaking when they start. That it always works out is a miracle, a hard-won miracle.” Registration for the Media Arts Academy and other classes for teens is now open. For more information, see nwfilm.org/classes.

PORTLAND ART MUSEUM 21

TOP DOWN ROOFTOP CINEMA JULY 26-AUGUST 30, 2018

PORTLAND JEWISH FILM FESTIVAL JUNE 10-24, 2018

Co-presented by the Northwest Film Center and the Institute for Judaic Studies, the annual Portland Jewish Film Festival explores the diversity of Jewish identities, how Jews are perceived in society, and the ever changing and complex social and political landscape of Jewish culture and identity. Among the films included in the 26th edition of the Festival is The Cake Maker (Israel/ Germany), the story of a German baker who travels to Jerusalem in search of the wife of his dead lover; An Act of Defiance (South Africa), the biography of Nelson Mandela and nine others as they stand trial during the apartheid era in South Africa; and The Testament (Austria/Israel), the dramatic story of a Holocaust researcher’s discovery of his own mother’s testimony of survival.

On the occasion of its 14th year, the Northwest Film Center’s Top Down: Rooftop Cinema is moving to the Portland State University campus (Parking Structure 1 at Southwest Harrison street and Broadway). Join us for food, music from XRAY.FM, and wild and woolly cinema under the stars. See schedule and purchase tickets at nwfilm.org.

INGMAR BERGMAN JUNE AND JULY, 2018

This summer the Film Center will present a Centenary retrospective of the great Swedish director Ingmar Bergman (1918-2007), perhaps the most acclaimed voice in international postwar cinema. Through films ranging from The Seventh Seal (above), to richly humane masterpieces as diverse as Wild Strawberries, Persona, Autumn Sonata, and Cries and Whispers, Bergman fearlessly tackled the metaphysical and spiritual questions that confront mankind.

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MEMBERS & PATRONS

PATRON SOCIETY

In recognition of their generosity, Patron Society members are offered a host of exclusive opportunities throughout the year. These opportunities are designed to enhance their connection to the Portland Art Museum in new and meaningful ways. To learn more about the Patron Society and any of the opportunities below, contact Paola Rodriguez at 503-276-4312.

MEMBERS

TALKING ABOUT CARS with Jay Leno JUNE 16

Don’t miss the return of Jay Leno at this public conversation celebrating the summer exhibition The Shape of Speed. Patrons and members get priority access to tickets.

PATRON SUMMER PARTY AUGUST 8

Save the date for an elegant summer evening of design, music, and open-air dinner in celebration of The Shape of Speed. Thank you to our Patron Society Wine Sponsor.

RICHARD DIEBENKORN RECEPTION SEPTEMBER 8

Join us in celebrating this rare look at Richard Diebenkorn’s early work at a special private reception following a lecture with curator Scott A. Shields from the Crocker Art Museum, Sacramento.

Preferred ticket is $150 (includes private viewing); General admission is $50. Tickets sold online through email invitation, and in person at the Museum’s box office. Event may be sold out by the time of Portal distribution—please call the membership office for up-to-date ticket availability and check your email for a link to purchase tickets.

THE SHAPE OF SPEED MEMBER PREVIEW DAY JUNE 15, 10 A.M. – 8 P.M.

Members Only Free to Museum Members Museum members can view the exhibition one day early, before it opens to the public! No advance ticketing required.

NEW MEMBER TOURS

HOODS-UP VIEWING JULY 11, 5:30 – 8:30 P.M.

Free to upgrading members, by invitation Upgrade your membership to any category above your current level between now and June 30 and receive your exclusive invitation to this event—a rare opportunity to view the extraordinary vehicles in The Shape of Speed exhibition with their hoods up and engines exposed! To upgrade your membership, call 503-276-4249.

MEMBER SUMMER BARBECUE AUGUST 4, NOON – 3 P.M.

Members Only $20 per person A summer barbecue in the Museum’s outdoor sculpture court, just for members! Join us for an afternoon of live music, food, gallery tours, and more in celebration of The Shape of Speed. Watch your email for more details and your exclusive invitation to purchase tickets. Special thanks to event sponsor NW Natural.

EVERY 4TH THURSDAY, AT 5:30 P.M.

VISITING THE MUSEUM AS A MEMBER

Meet in the Museum’s Main Lobby, Park Avenue Entrance

Admission is FREE for all current members (a savings of up to $20 per ticket).

New to the museum and want to learn more? Explore the Museum galleries and learn from the guides who know it best! Join a Museum docent for a 45-minute tour experience with other members. These tours provide an introduction to the Museum and collections, along with fun stories and personal insights along the way. Open to all membership levels. Advance tickets not required.

How to reserve tickets for Museum admission:

TOUR DATES: MAY 24, JUNE 28, JULY 26, AUGUST 23

Online: Be sure to sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added tickets to your shopping cart and proceeded to the checkout. Remember to print your e-ticket/ receipt and present it at the Museum’s box office for entry. On site: Visit the Museum’s box office and check in with your membership card* for admittance. *Current membership card and photo identification will be required for entry on the day of your exhibition visit. Member tickets are limited to the named individuals on your membership cards.

Do we have your email? Don’t miss out! Register online to receive our electronic notifications and monthly e-news. Sometimes special member opportunities become available on short notice. When this happens, the only way for us to quickly communicate with you is via email. Visit portlandartmuseum.org and never miss another announcement. Questions about your membership status? Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs. Please take a moment to review this important information.

TOP: 1936 Cord 812SC Westchester Sedan, photo: Peter Harholdt; LEFT/TOP: Richard Diebenkorn, Untitled (Magician’s Table), 1947. Gouache and graphite on hardboard, © Richard Diebenkorn Foundation; LEFT: 1937 Lincoln-Zephyr Coupe, photos: Dale Moreau. PORTLAND ART MUSEUM 25

COLLEGE SCHOOL GUIDE PEER-TO-PEER MENTORSHIP KeyBank helps high school and college students thrive through the arts. With generous support from the KeyBank Foundation, the Museum has brought students together from Molalla High School and Portland State University (PSU) for its College School Guide Peer-to-Peer Mentorship program, an innovative, peer-learning program that takes place at the Museum and school campuses. The program creates opportunities for both college and high school students to teach and to learn from each other as well as from Museum staff. In the first year of the program, students from Molalla High School and PSU participated in behind-the-scenes tours of the Museum, visiting the vault and conservation lab and meeting with with Museum Collections, Conservation, and Education staff to learn about careers in museums. PSU students designed interactive gallery experiences and led the high school students on tours. The college students travelled to Molalla, where the high school students taught print-making, inspired by the Andy Warhol and Corita Kent exhibitions. The program concluded with all students touring PSU’s campus and attending a workshop with PSU Advising & Career Services.

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Students’ written reflections on the program’s inaugural year confirmed that the experience was both unique and immensely valuable. “It was important for me because it was more than looking at artwork, it was interacting and building friendships,” wrote one 12thgrader. “The PSU students taught us a lot and we taught them a lot as well. I felt as if my perspective and art interests were valued. Art gave me confidence.” Now in its second year, the Peer-to-Peer Mentorship program had a successful start in fall 2017, including multiple visits to the Museum, Molalla High School, and PSU. Students created animation shorts inspired by Animating Life: The Art, Science, and Wonder of LAIKA. New this year, Museum education staff expanded the program to include students at the Native American Youth Association (NAYA) Early College Academy, who are paired with PSU Capstone student mentors and indigenous artists. Students studied works in the Native American collection and Kingdom Animalia exhibition with artist and educator Greg Archuleta (Clackamas Chinook, Santiam Kalapuya, and Shasta, and a member of the Confederated Tribes of Grand Ronde).

Archuleta then led wood-carving and printing workshops at NAYA. “The arts have an unparalleled ability to inspire us—to remove us from our daily lives for at least a couple of hours and explore new worlds,” said Michelle Weisenbach, KeyBank’s Market President for Oregon and Southwest Washington. “Our mission at KeyBank is to help our local communities thrive, and we consider the arts to be an impactful cornerstone of a thriving community. The KeyBank Foundation is proud to support this important program that will impact individuals and their futures.” The Museum is deeply grateful to the KeyBank Foundation for its continued support of this program, which activates the Portland Art Museum as a space for student-driven learning and adventure; provides both high school and college students the opportunity to gain confidence, critical thinking, and leadership skills; and deepens students’ commitment to higher learning and career exploration.

PROGRAMS & ACTIVITIES

PORTLAND ART MUSEUM 27

Conversation

Opening Lecture

Panel Discussion

TALKING ABOUT CARS COLLECTOR

BEHIND THE HEADLIGHTS: FASCINATING TALES OF THE CARS AND MOTORCYCLES IN THE SHAPE OF SPEED

THE SHAPE OF STYLE: HOW STREAMLINING LED THE WAY TO THE MODERN AUTOMOBILE

KEN GROSS, GUEST CURATOR, SHAPE OF

OF SPEED

JAY LENO, COMEDIAN AND AUTOMOBILE

SPEED

JUNE 16, 7:30 P.M.

JUNE 17, 2 P.M.

Join us for a lively conversation between guest curator Ken Gross and comedian Jay Leno, who will discuss the art of automobile collecting and Leno’s own collection.

The 19 streamlined cars and motorcycles in The Shape of Speed span a fascinating time period from 1930-42. Despite the debts of the Great Depression and the looming threat of war, the U.S. and European automotive industry’s creativity and imagination was unparalleled at the time. Go behind the scenes to hear stories of the famous designers, talented engineers, and past and present owners of the vehicles that represent some of the most fascinating events in automotive history.

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KEN GROSS, GUEST CURATOR, THE SHAPE PETER MULLIN, ART AND AUTOMOBILE COLLECTOR, FOUNDER OF THE MULLIN AUTOMOTIVE MUSEUM RICHARD ADATTO, AUTHOR AND FRENCH AUTOMOBILE EXPERT DAVID RAND, FORMER GENERAL MOTORS EXECUTIVE DIRECTOR OF ADVANCED DESIGN JULY 18, 6 P.M.

In the 1930s, the automobile evolved from a boxy, utilitarian conveyance to a sleek, aerodynamic work of rolling art. Join this distinguished panel of collectors and experts for an insightful discussion examining how the art and science of streamlining helped create some of the most beautiful cars and motorcycles ever designed.

STREAMLINED SUNDAYS Celebrate The Shape of Speed with us in the South Park Blocks! Motorcycles, Alfa Romeo cars, trucks, Airstream trailers and more will all be on display for visitors to enjoy on these summer weekends. Visit the Museum’s website for more details.

Motorcycles in the Park

Sharon L. Miller and Family Community Free Day

JUNE 24, 11 A.M. – 3 P.M.

THE SHAPE OF SPEED: OREGON TRAVEL TRAILERS & TRUCKS AUGUST 5, 10 A.M. – 5 P.M.

In 1931, Airstream trailers began with Baker City, Oregon–born Wally Byam’s dream: to build a travel trailer that would move like a stream of air, be light enough to be towed by a car, and create first-class accommodations anywhere. Not too long after, Leland James, president of Portlandbased trucking company Consolidated Freightways, approached manufacturers with his idea of building trucks with lightweight aluminum instead of traditional steel and eventually founded Freightliner. Join us for a festive day of vehicle streamlining Oregon-style with a chance to see new and vintage travel trailers on display courtesy of the Oregon Airstream Club along with a very special restored vintage Freightliner truck.

Cars in the Park SPORTS CAR MARKET 30TH ANNIVERSARY TOUR

Family programs are generously supported in part by Sharon L. Miller and Family, the Gordon D. Sondland and Katherine J. Durant Foundation, the Lamb Baldwin Foundation, and the Joseph E. Weston Public Foundation.

JULY 8, 1 – 5 P.M.

TOP: Henderson, KJ Streamline Motorcycle, 1930. Photo: Peter Harholdt; LEFT: 1939 Panhard & Levassor Type X81 Dynamic Sedan, photo: Michael Furman; 1942 Alfa Romeo 6C 2500 Ss Bertone Berlina, Photo: Carrstudio/Collezione Lopresto;

WE.CONSTRUCT. MARVELS. BETWEEN. MONUMENTS Artist Talk STEPHANIE SYJUCO, ARTIST AND ASSISTANT PROFESSOR IN SCULPTURE AT THE UNIVERSITY OF CALIFORNIA AT BERKELEY JUNE 26, 6:30 P.M.

RICHARD DIEBENKORN Lecture RICHARD DIEBENKORN: BEGINNINGS, 1942–1955 SCOTT A. SHIELDS, PH.D., ASSOCIATE DIRECTOR AND CHIEF CURATOR, CROCKER ART MUSEUM, SACRAMENTO SEPTEMBER 8, 2 P.M.

Exhibition curator and catalog author Scott A. Shields focuses on Richard Diebenkorn’s evolution to maturity and the art that precedes his shift to figuration. These early pieces evolved rapidly from representational landscape scenes and portraits of military colleagues, to semi-abstract and Surrealist-inspired depictions of topography and the human form, to mature Abstract Expressionist paintings. Many works will be unfamiliar to the public, yet they offer a fuller picture of the Portland-born artist’s precocious achievements and set the stage for what was yet to come.

Stephanie Syjuco joins us for a talk as part of the installation of her work NotMoMA, the first social-practice artwork to enter the Museum’s permanent collection and currently on view in Marvels. In her wider practice, Syjuco creates large-scale spectacles of collected cultural objects, cumulative archives, and temporary vending installations, often with an active public component that invites viewers to directly participate as producers or distributors. Using collaborative cocreation, her projects leverage open-source systems, shareware logic, and flows of capital, in order to investigate issues of economies and empire. This has included starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods, presenting parasitic art-counterfeiting events, and developing alternative vending economies. Her work was recently included in “New Photography: Being” at the Museum of Modern Art, New York (March 2018) and “Public Knowledge,” at the San Francisco Museum of Modern Art (2018). Public programs for We.Construct.Marvels. Between.Monuments. are presented in partnership with c3:initiative.

125TH ANNIVERSARY Curators in Conversation Series Our program series continues in celebration of the 125th anniversary of the Portland Art Museum. Each one-on-one conversation will take place between Director Brian Ferriso and the Museum’s respective curators, offering insight into an area of the permanent collection. Learn about the rich histories of building the Museum’s collection and hear curatorial visions for the future. Curators in Conversation runs bimonthly through the end of 2018.

SARA KRAJEWSKI THE ROBERT AND MERCEDES EICHHOLZ CURATOR OF MODERN AND CONTEMPORARY ART JUNE 7, 6 P.M.

GRACE KOOK-ANDERSON THE ARLENE AND HAROLD SCHNITZER CURATOR OF NORTHWEST ART AUGUST 16, 6 P.M.

JULIA DOLAN, PH.D. THE MINOR WHITE CURATOR OF PHOTOGRAPHY OCTOBER 4, 6 P.M.

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TOP/LEFT: Richard Diebenkorn, Untitled, c. 1947. Oil on canvas, 25 1/2 x 20 in. (64.8 x 50.8 cm). Catalogue raisonné no. 572 © Richard Diebenkorn Foundation.

INTERWOVEN RADIANCE

ADDITIONAL PROGRAMS

Closing Celebration

Monster Drawing Rally IV

JUNE 28, 6 P.M.

JULY 13, 6–9:30 P.M.

Join us for a program of Tlingit ceremony and dance, as we celebrate the closing of Interwoven Radiance, an exhibition of Chilkat and Ravenstail weaving on view in the Museum’s Center for Contemporary Native Art.

The Museum’s popular Monster Drawing Rally returns for a fourth year of drawing under the summer stars! MDR is a drawing event and fundraiser featuring more than 75 Portlandbased artists. Part performance, part laboratory, part art bazaar, the Monster Drawing Rally is an incredible opportunity to watch some of your favorite Portland artists create original drawings from a blank page. The event begins promptly at 6 p.m. in the Museum’s courtyard and consists of three one-hour rounds that each feature approximately 25 different artists drawing simultaneously. As the drawings are completed, they are immediately made available for a flat price of $35 each. If more than one person wants to purchase a particular work, the winner will be determined by drawing straws. Proceeds support free school and youth programs at the Museum.

Sponsored by the Native American Art Council, Native Arts & Cultures Foundation, and the Confederated Tribes of Grand Ronde.

BRING THE FAMILY!

The Museum will also feature the Li’l Monster Drawing Rally, a section where kids and families are invited to sit, draw, and display their work for the evening.

Chamber Music Northwest FREE SUMMER COMMUNITY CONCERT JULY 18, 1 P.M.

UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.

Chamber Music Northwest returns to the Portland Art Museum this summer for its Free Community Concert. Join the Verona Quartet for an hourlong concert inspired by the Museum’s summer special exhibitions, The Shape of Speed and Richard Diebenkorn: Beginnings.

ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org at least two weeks in advance, or call 503-226-2811.

PORTLAND ART MUSEUM 31

ONGOING PROGRAMS Sunday Parkways: The Green Loop

Artist Talk Series

JULY 22, 11-4 P.M.

Join us for an afternoon of fun as the streets in front of the Museum and our outdoor courtyard become one of several activity hubs for a special Sunday Parkways route highlighting the possibilities of a future Green Loop—a bold new concept of the Portland Central City 2035 Plan that envisions a linear park that connects nearly a dozen districts on both sides of the Willamette River and numerous cultural spots. Hop on your bike to enjoy all or part of the car-free 8 mile loop, and be sure to stop by the Museum for art-making, music, and more! Be 5

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AMY BERNSTEIN JUNE 21

Hailing from Georgia, Amy Bernstein is an artist and writer who spends most of her time thinking about upending habits of color and linguistics and working on her dance moves. Her work is represented by Nationale and has been exhibited at The Art Gym, Littman Gallery at Portland State University, Car Hole Gallery, Worksound, and Carl & Sloan Contemporary.

COUCH

SHEMANSKI PLAZA

SOUTH PARK BLOCKS

Program begins at 6 p.m. and departs from the Hoffman lobby entrance. $5 members, $20 nonmembers, $17 seniors. Space is limited. Tickets available online or on site.

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Join artists from a range of disciplines in the galleries on the third Thursday of every month for lively conversations about works of art on view at the Museum and how they relate to their own practices. The talks are followed by complimentary social hour in the museum cafe.

JAMES ALLEN JULY 19

James Allen is an excavator. He transforms used books into sculptural reliefs by selectively cutting through pages, keeping fragments of images and words to create a composition using the content of the book. His work is in several public collections, including the Fine Art Library and Louise M. Darling Biomedical Library at UCLA and Johns Hopkins University’s Milton S. Eisenhower Library.

ANTHONY HUDSON / CARLA ROSSI AUGUST 16

Anthony Hudson (Grand Ronde) is a multidisciplinary artist, performer, and filmmaker perhaps best known as Portland’s premier drag clown Carla Rossi. Anthony’s new play, Still Looking for Tiger Lily, is in process through Artists Repertory Theatre’s On the Workbench program. In 2018 Anthony was named a National Artist Fellow in Artistic Innovation by the Native Arts and Cultures Foundation.

VERONICA GUZMAN SEPTEMBER 20

Veronica Guzman is a Mexican-born painter and ceramicist whose work is deeply inspired by her Mexican heritage as well as her experiences living in China, Malaysia, India, Vietnam, Italy, and the United States. Taking a spiritual view of the cosmos, she aims to reflect a deep interest in and appreciation of the natural world in her work and process.

UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org at least two weeks in advance, or call 503-226-2811.

SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.

ONGOING PROGRAMS continued Baby Morning

Midday Art Break

FIRST THURSDAY OF THE MONTH, 10 A.M. – 12:30 P.M.

SECOND WEDNESDAY OF THE MONTH

JULY 5, AUGUST 2, SEPTEMBER 6 (NO PROGRAM IN JUNE)

JUNE 13, JULY 11, AUGUST 8, SEPTEMBER 12

We welcome babies and their caregivers for tea beginning at 10 a.m. The first tour will begin at roughly 10:30 a.m., or when we have a large enough group ready to go. The second tour will begin 30 minutes later, or when a second group is ready. No need to be “on time” for this informal program. Baby Morning’s home base remains open until 12:30 p.m. with toys, games, and books, providing a welcoming, accommodating space free of worries. Caregivers are also welcome to leave belongings here while on the tour. Carriers are recommended while in the galleries, but not required.

12:30 P.M.

Take a break from your workday and join a curator, museum educator, artist, or local scholar for a 45-minute talk in the galleries. Please visit the Museum website to learn more about upcoming topics. Space is limited. Advance tickets recommended. Program departs from the Park Avenue entrance.

Art & Conversation THIRD TUESDAY OF THE MONTH JUNE 19, JULY 17, AUGUST 21, SEPTEMBER 18

PIANO! PUSH PLAY! Kickoff Event JUNE 29, 7 P.M.

MUSEUM COURTYARD PERFORMANCE SERIES SELECT FRIDAY EVENINGS, 7 P.M.

The Museum is proud to partner with Piano! Push Play! for another summer of music and fun in our outdoor courtyard. Piano! Push Play! will once again work with talented local artists and designers to paint and decorate 10 refurbished upright pianos that will be placed and moved to sidewalk and park locations throughout Portland for the public to play in July and August. The outdoor piano season begins with a festive kickoff concert in the Museum courtyard featuring all 10 pianos and then will continue with performances on select Friday evenings. Visit pianopushplay.com/events for a full schedule.

Join us once a month for coffee followed by a lecture or film screening. Coffee at 9:15 a.m. in the Fields Ballroom, Mark Building; lecture at 10:15 a.m. in the Whitsell Auditorium, Main Building, except in February when the entire program will occur in the Fields Ballroom. This series is free for adults 62 and over. Please visit the Museum website to learn more about upcoming topics. Art & Conversation is made possible through the Marguerite and Harry Kendall Education Fund.

PUBLIC TOURS Join museum docents for gallery tours and other experiences at various times throughout the week. Public tours depart from the Park Avenue entrance Tuesday–Thursday and from the Sculpture Court Friday–Sunday: 1 P.M. TUESDAY & THURSDAY 6 P.M. FRIDAY (SLOW LOOKING) 12:30 & 3 P.M. SATURDAY 12:30 P.M. SUNDAY (FAMILY) 3 P.M. SUNDAY

Picture This

Meditation Series

TOURS FOR VISITORS WHO ARE BLIND OR PARTIALLY SIGHTED

FIRST AND THIRD THURSDAYS OF EVERY

Tours meet on the third Thursday of every month and now take place from 1:30 to 3 p.m. This gives us time to slow down and explore the work through detailed verbal description, tactile experiences, and dialogue. To join our mailing list, or to RSVP for an upcoming tour, please call 503-276-4290 or email pdxmuseum@gmail.com.

MONTH, 5:30 – 6:30 P.M.

Meditate at the museum. You are welcome to attend all sessions or drop in as you like. The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org 2-3 weeks in advance, or call 503-226-2811.

Did you know that the museum offers free admission to active-duty military and veterans every day of the year? In addition, PAM is proud to participate in the Blue Star Museum program, which offers free admission to activeduty military personnel and their families, including National Guard and Reserve, from Memorial Day through Labor Day. For more information, visit: arts.gov/national/ blue-star-museums.

34 PORTLAND ART MUSEUM

GIFTS & GATHERINGS

PATRON SOCIETY MEMBERS The Portland Art Museum gratefully acknowledges the individuals and businesses of our Patron Society who make a significant impact on the Museum’s programs and essential operation. To find out more about the Patron Society, its unique member benefits, and how you can support the Museum, contact Paola Rodriguez at 503-276-4312 or paola.rodriguez@pam.org. (List as of April 4, 2018) •Trustee and At-Large members

CHAIRMAN’S CIRCLE $25,000+

Berggruen Institute Ryan and Mary Finley• Janet H. Geary• Loren J. Schlachet• Arlene Schnitzer• The Smidt Foundation• Mr. and Mrs. William A. Whitsell• Anonymous DIRECTOR’S CIRCLE $10,000–$24,999

Linda and Scott Andrews• Sharon and Keith Barnes• Peter and Missy Bechen• Mrs. Mary Cecilia Becker Deborah Bergman Bryan Bickmore Donald and Mary Blair John Bradley Richard Louis Brown• Mr. and Mrs. Roger Burpee• Brooks and Dorothy Cofield Ms. Jean McGuire Coleman in honor of Margery Hoffman Smith Truman Collins Mr. and Mrs. James F. Crumpacker• Penelope and Foster Devereux Matthew and Jasmin Felton• Brian Ferriso and Amy Pellegrin Lana and Christian Finley• Ann Flowerree• Ms. Stephanie Fowler and Mr. Irving Levin• Katherine and Mark Frandsen• Mr. and Mrs. Mark Goodman• Alix and Tom Goodman• Mary Chomenko Hinckley and Gregory K. Hinckley Ronna and Eric Hoffman Fund of OCF Steven and Kasey Holwerda•

36 PORTLAND ART MUSEUM

Judy and Hank Hummelt• Mr. David J. Johnson Mr. and Mrs. Frederick D. Jubitz Willa M. Kemp• Dr. Douglas and Selby Key• Heather Killough Wes and Nancy Lematta• Fund of OCF Mrs. Dorothy Lemelson Carol Schnitzer Lewis Fund of OCF Kathleen Lewis Mrs. Theodore Lilley, Jr. Cyndy and Edward Maletis• David and Dolorosa Margulis• McGeady Family Foundation• Laura S. Meier• Sarah Miller Meigs and Andrew Meigs Mark J. and Dr. Jennifer R. Miller• Rick and Erika Miller• Alex Payne and Nicole Brodeur Dorothy Piacentini Travers Hill Polak• Michael and Wayne Roberts Quimby Pat and Trudy Ritz• Grace Serbu• Thomas and Megan Shipley• Angela and Rex Snow Andrée H. Stevens• Julie and Peter Stott• Hank Swigert Travis Talbot• Greg and Cathy Tibbles Jane and Lawrence Viehl Nani S. Warren• Mr. and Mrs. Robert Warren, Jr.• Mr. and Mrs. David Willmott• Jim and Susan Winkler• Judith Wyss Anonymous (2)

LEADERSHIP CIRCLE $5,000–$9,999

Anthony and Martha Belluschi Daniel Bergsvik and Donald Hastler• Mary Lee Boklund• Marianne Buchwalter Bryce Butler Richard and Liane Cabot Cascadia Foundation Cynthia and Stanley Cohan Cheney and Mary Cowles Elizabeth and Kirk Day• Paul and Pamela DeBoni Ann and Mark Edlen John Emshwiller and Deborah Yaeger Suzanne Geary and Greg Doan• Mr. John Goodwin and Mr. Michael-Jay Robinson• Leona and Patrick Green• Peter and Diana Hall• Jean Irwin Hoffman Sue Horn-Caskey and Rick Caskey Judy Carlson Kelley Nick and Patty Knapp Drs. Dolores and Fernando Leon Elizabeth Lilley• Mr. and Mrs. Robert McCall Diane Forsgren McCall Marilyn McIver Jonathan Pellegrin and Patricia Mellencamp in honor of Amy Pellegrin and Brian Ferriso Yale Popowich, MD Dee Poth• Jennifer and Charles Putney Richard and Deanne Rubinstein April Sanderson• Mr. and Mrs. Robert W. Schlieman Jordan D. Schnitzer Lois T. Schnitzer Richard and Marcy Schwartz Tina Skouras Sanjeev Lahoti and Angela Summers Robert Trotman and William Hetzelson• Don and Linda Van Wart Linda and Richard Ward Dr. Alton and Celia Wiebe• Janet Williamson GUARANTOR $3,000–$4,999

Jean and Ray Auel Anne Barbey Mary Bishop Kathryn Bunn James and Diane Burke Carol Ann and Kent Caveny James and Nancy Dalton Theo and Nancy Downes-Le Guin Mr. and Mrs. Wayne R. Ericksen

James FitzGerald and Karen Howe Katherine and James Gentry Mary and Gordon Hoffman The Holzman Foundation Mrs. Salena Johnson Katherine and Gordon Keane Mr. and Mrs. Richard B. Keller Donna L. Larson Patrick Y. H. Lee Peter and Susie Lynn Bill and Melinda Maginnis Stephen R. McCarthy and Lucinda Parker Ruben J. and Elizabeth Menashe Mrs. Hester H. Nau Cynthia and Steven Pailet Geoff Peters and Lenka Jelinek Brenda J. Peterson Charles and Ruth Poindexter Bob and Marilyn Ridgley Catherine Rudolf Joanne H. Senders Daniel Stearns Ambassador Charles J. and Caroline H. Swindells Rena L. Tonkin Christine and David Vernier Ms. Wendy W. Warren and Mr. Thomas Brown DJ Wilson and Bill Hoadley/ KGW Media Group Jonathan and Pearl Yu Anonymous BENEFACTOR $2,000–$2,999

Mrs. Roudi Akhavein Dr. Seth Alley Meredith and Robert Amon Stephen and Melissa Babson Joan Lamb Baldwin Rob Bearden Jane and Spencer Beebe Peter and Susan Belluschi Karen L. Benson Pamela H. Berg Mr. and Mrs. Lawrence S. Black Maureen and John Bradley Barbara and Robert Brady Buzz Braley Martha L. Brooke Deborah A. and Terrell D. Brown Andy and Nancy Bryant Bruce and Brenda Burns Eric and Robin Busch Barbara and Worth Caldwell Suzanne Carlbom Brent and Laura Carreau Barbara and Robb Cason Mike and Tracey Clark Climate Architecture + Landscape, LLC, Amy and John Cooney Kimberly B. Cooper and Jon Jaqua

Ré Craig Cameron and Dick Davis George and Barbara Dechet Maria Declusin J. Michael Deeney, M.D. Barbara Delano and John Wyckoff Mary and Spencer Dick Family Franklin Drake in memory of Harriet Drake Margueritte H. Drake Richard and Betty Duvall Carol Edelman Dr. Richard H. Edelson and Ms. Jill Schnitzer Edelson Barry and Janet Edwards Paul and Kristina Elseth Francene and Stephen English Doris Ennis Linda Falvey Robert Feldman and Julia Mangold Candace and Bert Forbes Dr. William and Beverly Galen Stanley Geffen and Adrienne Souther• Andra Georges and Timothy Shepard Thomas and Elizabeth Gewecke Mrs. Barbara Giesy William Gilliland Karen and Harry Groth Mr. and Mrs. Jeff Grubb Ms. Susan Halton Luisa Adrianzen Guyer and Leigh Guyer Ms. Susan Halton Hampton Family Foundation Bob and Janis Harrison Roger and Margaret Hinshaw Eric and Jan Hoffman Mrs. Gretchen Holce Janet Louvau Holt Dave Holt Mr. and Mrs. Frederick W. Horstkotte Ellen and James Hubbell Mr. Donald Jenkins David Jentz Brad Johnston and Julie C. Evans Jessie Jonas Michael and Mary Klein Cheryl and Chick Kozloff Ms. Bonnie Laing-Malcolmson and Jack Woida Jerry Lamb Barbara and William Langley Helena and Milt Lankton Douglas Larson and Sarah Ryan Bonnie Laun Robert and Susan Leeb Ross M. Lienhart and Janeese Jackson Ms. Nancy R. Locke and Mr. Donald Harris Alysia Duckler and David Lokting William and Connie Lovejoy

2 1

FAZAL SHEIKH PATRON RECEPTION AND COMMUNITY OPENING 1. John Goodwin and Fazal Sheikh 2. Glenda Goldwater and Daniel Peabody 3. Art making activities 4. Fazal Sheikh leading a tour during Miller Family Community Free Day 5. Youth Program Coordinator Isatou Barry and members of the Youth Leadership Council of the Immigrant and Refugee Community Organization (IRCO) Africa House 6. Karen weavers in the galleries 4

AN EVENING OF JAPANESE ART AND CULTURE 1. Minoru Wakabayashi and Greg Ness 2. Maribeth Graybill and former Consul General Kojiro Uchiyama 3. Shimpei Ishii, Deputy Director of the Japan Foundation, with Brian Ferriso and Jeannie Kenmotsu 4. Maihwa Frances Li, Tonne Schiess, Barbara Prigohzy, and Stan and Kathy Martin 5. Maribeth Graybill, Alicia Fecker, and Alison Miller 6. Donald Jenkins with Robert and Sandra Mattielli

5 6

Tonya and Rick Mahler Jon and Elise Makler Tita Malinow Lisa and Shawn Mangum Richard K. Mann and Lisa B. Mann Ken and Linda Mantel Mr. and Mrs. M. James Mark Keith Martin Barbara Mason Michael and Barbara Masterson J.S. and Robin May Jim and Char McCreight Mike and Judy McCuddy Nancie S. McGraw Daniel Schwoerer and Lani McGregor Jo Ellen and Samuel Miller Mia and Matt Miller

Brad and Nancy Miller Lucy Mitchem Dee Corbin Moore and Thomas Jewett Moore Mia Hervin Moore and Jon Moore Jeffrey Morgan Jeanette and Bruce Morrison Joyce and Dennis Muir Denise Mullen/Oregon College of Art and Craft Ernest and Anne Munch Judy Preble Murphy Tom and Chris Neilsen Mr. Dane Nelson Gareth and Lisa Nevitt Kristie and Bob Niehaus John and Virginia Niemeyer Elizabeth C. Noyes

PATRON BUSINESS SOCIETY MEMBERS (List as of April 4, 2018)

BUSINESS CHAIRMAN’S CIRCLE—$25,000+

BUSINESS DIRECTOR’S CIRCLE $10,000–$24,999

Shorenstein Realty Services LP

Hoffman Construction Company Lady Hill Winery Margulis Jewelers MTek Kiosk, Inc. PLANAR Nike, Inc. Provenance Hotels A to Z Wineworks

EXHIBITION SERIES SPONSORS

Support 30 exhibitions a year at the Museum, enabling the allocation of resources to support a diversity of shows. (List as of April 5, 2018) PRESENTING SPONSORS

LEAD SPONSORS

The James F. and Marion L. Miller Foundation Meyer Memorial Trust William G. Gilmore Foundation

Education Exhibitions Fund Supporters* Wells Fargo Foundation*

Linda Ochenrider Parsons Family Fund of OCF Mr. and Mrs. Robert W. Philip Mr. and Mrs. Luke Pietrok David and Shirley Pollock David James Pollock Heidi Pozzo Patricia K. Prado Mr. and Mrs. Wallace Preble Lucy and Herb Pruzan Ron and Lee Ragen Jimmy Rattanasouk Stephen and Jean Roth Rutherford Investment Management, William D. Rutherford Dan Saltzman and Liz Burns Eugene and Mary Sayler

Paul Schneider and Lauren Eulau Dina Schnitzer Dori Schnitzer and Mark Brown Bonnie Serkin and Will Emery Peter Shinbach Tom and Carol Shults Mr. Steven N. Spence and Mrs. Barbara Spence Bonnie Stern Pat and Larry Strausbaugh Charlie and Darci Swindells William R. Swindells Kimberly Tardie Christine Tarpey and Richard Yugler Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Jeffrey L.J. Thomas and Laura Cooper

Marta and Ken Thrasher Cheryl Tonkin Consul General Kojiro Uchiyama and Mrs. Uchiyama Jane Wachsler Barbara and Bastian Wagner Wendy Wells Jackson Dr. and Mrs. Grover C. Wetsel Elaine Whiteley Jo Whitsell Alice and Wim Wiewel Mrs. John Wild Virginia Wright Emily Wright Cheryl and Tom Wyatt Kim Ziebell Anonymous (5)

Wells Fargo Willamette Dental Group Winderlea Vineyard & Winery

ChefStable Catering Devil’s Food Catering Elephants Delicatessen Lane Powell PC New & Neville Real Estate Services Pearl Catering LLC Portland Business Alliance Vibrant Table Catering and Events Inc.

Hood River Distillers Langley Investment Properties Mario’s Markowitz Herbold PC Marmoset LLC Meyer Pro, Inc. Oregon Beverage Recycling Cooperative PDX CONTEMPORARY ART Phillips Pomarius Nursery Portland Trail Blazers Pro Photo Supply Rogers Machinery Company, Inc. SakéOne Showers Pass Tonkon Torp, LLP Vernier Software & Technology VTECH Communications, Inc. Wildwood & Company Woodruff Sawyer & Co.

BUSINESS LEADERSHIP CIRCLE $5,000–$9,999

Archery Summit Christie’s Davis Wright Tremaine Extensis Inc. Hotel Modera Nordstrom NW Natural Sigma Investment Management Company The Standard BUSINESS GUARANTOR $3,000–$4,999

Art of Catering Artemis Foods Bonhams

BUSINESS BENEFACTOR $2,000–$2,999

Ad-Mail, Inc. Allen Trust Company Chubb Insurance City of Beaverton Columbia Private Banking ESCO Foundation Geffen Mesher & Company, P.C. Goldman, Sachs & Co. Hennebery Eddy Architects

MAJOR SPONSORS

SPONSORS

Maribeth Collins Exhibition Endowment Fund Reddog/Fish/Nick The Broad Art Foundation Maybelle Clark Macdonald Fund* Pat and Trudy Ritz The Harold & Arlene Schnitzer CARE Foundation Arlene Schnitzer/Jordan Schnitzer The Smidt Foundation The Standard James and Dana Tananbaum Alix and Tom Goodman

The Sharon and Keith Barnes Endowment Fund Mary C. Becker Patricia Johnson and Michael Davidson/The Robert and Mercedes Eichholz Foundation Flowerree Foundation Selby and Doug Key* Nordstrom* TEGNA Foundation/KGW 8* U.S. Bank Foundation* Judith Wyss Oregon Cultural Trust Oregon Arts Commission Regional Arts and Culture Council Work for Art

IN-KIND SPONSORS

Allen Trust Company PLANAR NW Natural MTek Kiosk, Inc. *In support of the Education Exhibition Series

EDUCATION EXHIBITIONS FUND SUPPORTERS We gratefully acknowledge the following Education Exhibitions Fund Supporters who enable the Museum to touch the lives of more than 60,000 youth, students, and community members annually through a range of educational programs. Gifts were matched through the generosity of the Maybelle Clark MacDonald Fund and an anonymous donor. (List as of March 15, 2018) Sharon and David Agnor Dave and Peggy Albertine Joyce Allmon Stephen and Melissa Babson Robert and Carol Bibler Caroline E. Bitterwolf Candace and Ronald Blash Mr. and Mrs. Michael Boardman Winhard Bohme and Wendy Sternberg Richard Born James Bosket Paul and Nancy Bragdon Robert Brenner Marcia Brown Stuart Brown Jan J. Brunner Mr. Douglas J. Burns Teri Cantor Donald W. Carlson Ms. Paula Carlson Leland Chalmers Maisie Chang Nancy J. Chapman Lindsay and Corinne Stewart Paula Heimberg Marci K. Clark and James N. Bartroff Mr. Nigel Clift and Ms. Elizabeth Coleman Logan Close Julia and Jim Coari Ms. Debi Coleman

Michael and Judy Collins Leslie Copland and Marc Cooper Megan Crowell Nichols M. Cutting and Katherine Bremser Carol J. Danish Anne H. Dantzig Joseph and Carol Davids Foster and Penelope Devereux Lynn DeWard Elizabeth Dick Richard Dobrow Butch and Kitt Dyer Dr. Jim Edwards and Dr. Michele Mass Ken and Ann Edwards Jack Engel Robert H. Erickson David Filer Ellen Fineman Mr. Ed J. Reeves and Dr. William Fish Robert and Judith Fisher Barbara J. Fitzgerald Katherine Foldes and John Hunt Suzan Frangos Ms. Paula R. Frechen Nancy Frisch William and Renate Funk Joan Gauthier Janet Getman Joyce Gifford Bentley Gilbert, Jr.

Ms. Laura L. Good Jim and Lee Gray Evan Green Annemieke Halbrook Barb Halstead Mrs. Julia Hannegan Drew Harrington Wendy and Sachiko Hasuike Dorothy Haught Sue Hennessy and Marcus Wood Calvin and Ruth Hennig Helen Herner Charles and Margaret Hickman Donald and Marilyn Hill Ellen Hopper and Eunice Bailey Kenneth and Beth Howard Jean Hubb Mrs. Pamela Hummelt Ceil and Bob Huntington Mr. Thomas Jackson Jack Johns and Suzanne May Mrs. Salena Johnson Karen and Scott Karn Marilyn Kaufmann Peter Pappas and Nancy Kelly Nancy Kieburtz Jock and Barbara Kimberley Virginia and David Kingsbury Don Kirby Anne Kirkpatrick and Donald Hank Kevin A. Komos and Bruce Suttmeier Kurt T. Krause Sharri LaPierre Mary Lois Larson Jayne Lebsack Kate and Parker Lee Gregory F. Leiher Wes and Nancy Lematta Fund of OCF Patricia A. Lewis and Janet L. McCord Li Li and Randall Lambert Mary Ann Lockyear Ms. Marla Lohr-Flanders Ken and Trina Lundgren Marvin and Sylvia Lurie Kyra M. MacIlveen Gary Lee Malecha and Linda Faye Gammill Ken and Linda Mantel Anne L Marangoni

Kathleen and Clark Marquart Jerry Martin Fred and Susan Matthies J.S. and Robin May Robert Mc Hugh Diane Forsgren McCall Michael and Maryellen McCulloch David McDonald Larry McQueen and Elga Brown Margaret Mesirow Charlotte Miles Constance and Crete Anne Miller J. Michael Miller Michael and Carol Miller Barbara Mills Margot Moore-Wilson Nancy and Arthur Moss Phillip Couture and Megan Munday Alise Munson John and Nancy Murakami Newcomb Family Craig and Julie Nichols Anne and David Noall Ray and Carol North Kathleen L. Olson Katherine O’Neil and Toby Graff Deborah O’Neill Pacific Northwest Woodturning Guild Marek and Grazyna Patyra James Paulson and Lisa Tester Patricia Perkins Dennis Petrequin Cynthia and Carl Pixley Charles and Ruth Poindexter Mr. Gopalan Raman Mr. Leonard Rann William and Anne Rasnake Sharlyn Rayment Sandy Reaves and Kevin McChesney Phyllis I. Redman Dawn Regier Rod and Sheila Renwick Bruce E. Richards Phyllis and Bruce Ritchie Caroleigh and John Robinson Katharine Robinson Audrey Romeo William Deiz and Judy Rooks Rosalind M. Roseman

Dr. Cara Rozell and Roger Kornfein Lex and Debbie Runciman Dr. Patricia E. Sacks Eugene and Mary Sayler Yvonne D. Schierer Pam Schild Karl and Julie Schmidt James W. Scott Leslie Scott and Dr. Charles Lefevre Jo Shapland and Doug Browning Gary Shaw and Mildred Benhard Torin Shepard Olivia Smith Carol Smith-Larson Stephanie Snyder Marna Stalcup and Timothy Drilling Ms. Margaret A. Starr Mr. and Mrs. William T. C. Stevens Jean K. Stoll Milan and Jean Stoyanov Richard and Bonnie Strauss Karl Studnicka Sara Takikawa Karen Talus Ms. Beverly Terry Donald Thompson and Judy Thompson Michael Ossar Kelly Tilden Robert Todd Rena Tonkin John O. Trueb and Kathy Monaghan Nancy Vartanian Patti Vrobel Richard Wasserman and Ann Coskey-Wasserman Stanley Weber Loren and Jill Weeks Darcy Weir and Lucia Atkinson Ms. Kimberly Weller and Doug Gordon WeMake PDX Elaine M. Whiteley Paula and H. David Willey Juliet F. Williams Deborah Woolf Deborah Yaeger and John Emshwiller Hyong and Hey Kyung Yu David and Sherri Zava Floyd Zula and Kelly Laslie Anonymous (5)

CORRECTION: Due to an editorial error, we incorrectly identified the winery belonging to Elaine and Jerry Owen, Lady Hill Winery, in the Spring Portal. We appreciate the generous support from Lady Hill Winery, the wine sponsor for our 125 Anniversary Gala last September. We apologize for the error.

40 PORTLAND ART MUSEUM

LAIKA MEMBERS NIGHT

THE HEART OF PORTLAND CELEBRATION

EDUCATION AND ACCESS SPONSORS

Support exhibition programming, public and family programs, teacher and educator programs, school tours, and access programs supporting free and reduced admission prices. (Gifts of $5,000+ and endowments.) (List as of January 22, 2018)

GIFTS OF ART

Ken and Joan Austin Education Outreach Fund Bank of America Foundation William H. and Mary L. Bauman Foundation Fred W. Fields Fund of the OCF Marguerite and Harry Kendall Education Fund Selby and Doug Key KeyBank Foundation Samuel H. Kress Foundation

The Lamb Baldwin Foundation Wes and Nancy Lematta Fund of the OCF Maybelle Clark Macdonald Fund Miller Family Foundation Sharon L. Miller and Family Nordstrom Oregon Arts Commission Oregon Cultural Trust Pacific Power Foundation

The PGE Foundation Mildred and Morris Schnitzer Charitable Fund of the OCF Gordon D. Sondland and Katherine J. Durant Foundation TEGNA Foundation / KGW 8 U.S. Bank Foundation OCF Joseph E. Weston Public Foundation Wells Fargo Foundation

Joel R. Bergquist Dan Bergsvik and Don Hastler Jereann Chaney

Mary and Cheney Cowles Egenolf Gallery Margaret L.L.C. Jones

Robert Miller Jan Lewis Slavid in memory of R.E. Lewis

M. James and Jennifer Mark McGeady Family Foundation Melvin Mark Companies Merrill Lynch Private Banking & Investment Group Meyer Memorial Trust Mia and Matt Miller Native American Art Council of the Portland Art Museum Native Arts and Cultures Foundation OCF Joseph E. Weston Public Foundation Dan and Carolyn O’Doherty Oregon Arts Commission Oregon Community Foundation Pacific Power Foundation PDX CONTEMPORARY ART Travers and Vasek Polak Pro Photo Supply RBC Wealth Management Regional Arts and Culture Council Pat and Trudy Ritz Arlene Schnitzer/The Harold & Arlene Schnitzer CARE Foundation Jordan Schnitzer Family Foundation Schwab Charitable Fund Starseed Foundation Stratasys TEGNA Foundation / KGW 8 The Andy Warhol Foundation for the Visual Arts The Arnold and Augusta Newman Foundation The Boston Foundation The Caryll M. and Norman F. Sprague Foundation The Ford Family Foundation The James F. and Marion L. Miller Foundation The Lamb Baldwin Foundation The Mildred E. and Harvey S.

Mudd Foundation The Renaissance Foundation, Stephanie Fowler and Irving Levin The Smidt Foundation The Standard The Swigert Warren Foundation Karen Varnhagen W.L.S. Spencer Foundation Elizabeth J. Wadsworth and Paul W. Peppis Margo Grant Walsh Nani S. Warren Wells Fargo Foundation Karin and Barton Whalen Mr. and Mrs. William A. Whitsell William G. Gilmore Foundation William H. and Mary L. Bauman Foundation Jim and Susan Winkler Wolf Kahn and Emily Mason Foundation Judith Wyss YourCause, LLC Anonymous (13)

Estate of W.H. Nunn Jerry G. Jones Trust So-Hum Foundation

Hong Kong Economic and Trade Office Imperfect Produce Cary Jackson The Jackson Foundation Katherine and Gordon Keane King Family Foundation Koerner Camera Systems The Lamb Baldwin Foundation Lewis and Clark College Gilbert Neiger and Lisa Karplus Nordic Northwest Oregon Arts Commission Oregon Community Foundation Polish Library Building Association Regional Arts and Culture Council Pat and Trudy Ritz Quebec Government Office in Los Angeles Romanian American Society Martin Smilkstein Social Venture Partners Al Solheim Pat and Larry Straughsbaugh Cheryl Strayed and Brian Lindstrom Studio School TV5 USA Don and Linda Van Wart

NORTHWEST FILM CENTER

GIFTS IN-KIND

Sister Bragdon Consular Office of Japan in Portland Robin and Lee Feidelson Lana and Christian Finley Flushing Bank/BankPurely French American International School Gearhead Production Rentals Groundworks Industries Henry Lea Hillman, Jr. Foundation

Dave Holt Lady Hill Winery Mark J. and Dr. Jennifer R. Miller Miller Family Holdings, LLC SakéOne Winderlea Vineyard & Winery

Gifts received from January 1–March 31, 2018

GIFTS OF NOTE

The Portland Art Museum and Northwest Film Center are grateful to the many businesses and individuals whose support allows us to remain an important cultural resource in the community now and for future generations. The following list includes all non-membership gifts over $500, received between November 15, 2017 and March 15, 2018. *Deceased Shane Akeroyd, London Robert and Kathleen Ames Linda and Scott Andrews Meagan Atiyeh Joan Lamb Baldwin Bank of America Jane and Spencer Beebe Tangie Belmore Martha Bergman Daniel Bergsvik and Donald Hastler Mary Lee Boklund Bonhams Bonyhadi Family Richard Born Bread and Roses Machine Company John and Mary Calvin Consulate General for the Republic of Korea in Seattle Dr. Jeri Janowsky and Dr. John C. Crabbe Anne and James F. Crumpacker Elizabeth and Kirk Day Ed Cauduro Fund of OCF Ken and Ann Edwards European and American Art Council of the Portland Art Museum Fidelity Charitable Gift Fund

Lana and Christian Finley Ann Flowerree / Flowerree Foundation Bob and Konky Forster Framing Resource Katherine and Mark Frandsen Andra Georges and Timothy Shepard Dean Gisvold Goldman Sachs Philanthropy Fund Sandy and Jeff Grubb Henry L. Hillman, Jr. / Henry Lea Hillman, Jr. Foundation Eric and Jan Hoffman Ronna and Eric Hoffman Fund of OCF Institute of Museum and Library Services J. Scott and Linda Andrews Jeffrey Horvitz Foundation Mr. Peter Kendall Dr. Douglas and Selby Key KeyBank Foundation Koe Family Fund LAIKA Leotta Gordon Foundation Elizabeth Lilley Eric and Hollie Lindauer M. J. Murdock Charitable Trust

The Museum gratefully acknowledges all members who have continued to support the Museum on an annual basis through their membership contributions. The Portland Art Museum is accredited by the American Association of Museums and is supported in part by annual contributions from the Oregon Arts Commission, the Oregon Arts Heritage Endowment Fund of The Oregon Community Foundation, the National Endowment for the Arts, and the Regional Arts & Culture Council.

BEQUESTS

SHOP FOR ART The Portland Art Museum’s retail and rental programs help support our mission of engaging and inspiring the community through art.

Museum Store Browse our eclectic selections, and come see what is new and exciting for summer. Members receive 10 percent discount.

Museum Grounds The Museum’s coffee shop now offers great local foods from Elephants Delicatessen and pastries from various local vendors, and is now featuring a Friday night Art Pub with beer, wine, and snack specials from 5 to 8 p.m. Members receive 10 percent discount. @museumgrounds on Instagram.

Rental Sales Gallery Museum members can rent original works of art for a fraction of the piece’s value. Pieces can be rented for up to six months. Fifty percent of the rental fee can be applied to the purchase. Monthly paymant plans are available. New Artist Show opening night is June 15, 5-8 p.m., and PAM Staff Art Show opening night is August 25, 5-8 p.m. (works for sale only). Learn more at rentalsalesgallery.com.

MUSEUM GROUNDS The Museum’s newly renovated coffee shop now offers reloadable coffee gift cards, Museum Grounds mugs, and stamp cards—buy 10 drinks and your 11th is on us! Follow the Café on Facebook and Instagram for updates and specials. @museumgrounds

MUSEUM STORE Make a pit stop in the Museum Store to take home a streamlined souvenir for yourself or the car lover in your life. Vintage steering wheel desk clock $137.50 | $123.75 members

Artful Venues Planning a special event? Consider booking one of the Museum’s unique rental spaces— all proceeds help fund our education and exhibition programs. Discounts for nonprofits.

The Shape of Speed Catalog $49.95 | $44.95 members

Visit events.portlandartmuseum.org. #eventsunparalleled.

44 PORTLAND ART MUSEUM

Streamlined car sculpture $55.50 | $49.95 members

Opening continued BETWEEN. July 20 – October 14, 2018 APEX: AVANTIKA BAWA August 18, 2018 – February 10, 2019

Continuing CRAFTSMANSHIP AND WIT: MODERN JAPANESE PRINTS FROM THE COLLECTION OF CAROL AND SEYMOUR HABER Through June 17, 2018 OBJECT STORIES: INVISIBLE ME Through June 17, 2018 MARVELS. Through July 8, 2018

EXHIBITION SCHEDULE Opening THE SHAPE OF SPEED: STREAMLINED AUTOMOBILES AND MOTORCYCLES, 1930–1942 June 16 – September 16, 2018 RICHARD DIEBENKORN: BEGINNINGS, 1942–1955 June 16 – September 23, 2018 SUZUKI HARUNOBU AND THE CULTURE OF COLOR June 23 – September 16, 2018

HOURS

Monday Closed Tuesday–Wednesday 10 a.m.–5 p.m. Thursday–Friday 10 a.m.–8 p.m. Saturday–Sunday 10 a.m.–5 p.m. CRUMPACKER FAMILY LIBRARY HOURS Open by appointment. Please contact library@pam.org or call 503-276-4215

ADMISSION

Members/Children (17 and younger)* free Adults $20 Seniors (62 and older) $17 Students (18 and older with ID) $17 *Children 14 and younger must be accompanied by an adult. Tickets available online.

APEX: HANNAH PIPER BURNS VENUS RETROGRADE Through August 12, 2018

FREE & REDUCED

IN THE BEGINNING: MINOR WHITE’S OREGON PHOTOGRAPHS, PHASE II Through October 21, 2018

Every Day

ROBBERT FLICK: ARENA Through October 28, 2018

$5 general admission 5–8 p.m.

SU-MEI TSE: L’ECHO Through October 28, 2018 OBJECT STORIES: ONE STEP AWAY June 30 — November 25, 2018 CCNA: INTERWOVEN RADIANCE Through June 24, 2018 PICTURING OREGON Through August 2019

ADMISSION

Children ages 17 and younger are free.

Every Friday after 5 p.m. Free First Thursday Free admission 5–8 p.m. The first Thursday of every month.

Blue Star Museum Free admission to active-duty military and their families, Memorial Day through Labor Day.

Miller Family Free Day August 5, 10 a.m.–5 p.m.

CONTACTS General Information Membership Information

503-226-2811 503-276-4249

Support for free admission is made possible thanks to the Gordon D. Sondland and Katherine J. Durant Foundation, Sharon L. Miller and Family, and the Lamb Baldwin Foundation. Help us provide additional free opportunities by supporting the Museum’s Art Access Endowment. Visit portlandartmuseum.org/admission-access-programs

1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG

JUNE MON

2018

TUE

WED

THUR

FRI

SAT

PUBLIC TOUR

PUBLIC TOURS

FAMILY TOUR

Photography 3 p.m.

PUBLIC TOUR

Listening to Art 12:30 p.m.

Slow Looking 6 p.m.

SUN Contemporary Art Across Cultures 12:30 p.m. Northwest Art 3 p.m.

PUBLIC TOURS

European Art 1 p.m.

Meditation 5:30 p.m.

Slow Looking 6 p.m.

Sara Krajewski 6 p.m.

5 PUBLIC TOUR

American/ Northwest Art 1 p.m.

6 MIDDAY ART BREAK

7 MUSEUM CLOSING EARLY

12:30 p.m.

5 p.m.

PUBLIC TOURS

European Art 1 p.m.

12 ART & CONVERSATION

13 PHOTOGRAPHY BROWN BAG TALK

9:15 a.m.–11:30 a.m.

PUBLIC TOUR

Mythology in the Museum 12:30 p.m. Modern and Contemporary Art 3 p.m.

9 OPENS

PUBLIC TOUR

PUBLIC TOURS

Slow Looking 6 p.m.

14 PUBLIC TOURS

The Shape of Speed Richard Diebenkorn: Beginnings

Craftsmanship and Wit FAMILY TOUR

Collection Highlights: 3 p.m.

Picture This: 1:30–3 p.m.

Diebenkorn 1 p.m.

L 19

PUBLIC TOUR

21 PUBLIC TOURS

American Art 1 p.m. ARTIST TALK

FAMILY TOUR

The Shape of Speed 3 p.m.

PUBLIC TOURS

The Stories We Tell: 12:30 p.m. Diebenkorn: 3 p.m.

PUBLIC TOURS

Highlights of American History 12:30 p.m.

Interwoven Radiance 6 p.m.

Stephanie Syjuco 6:30 p.m.

Motorcycles in the Park 11 a.m.–3 p.m.

Object Stories: One Step Away

CLOSING CELEBRATION

Diebenkorn 3 p.m.

STREAMLINED SUNDAYS

OPENS

Slow Looking 6 p.m.

Asian Art: 3 p.m.

Medium as Metaphor 12:30 p.m.

22 PUBLIC TOUR

Native American Art 1 p.m.

PUBLIC TOURS

ARTIST TALK

LECTURE

PUBLIC TOUR

Suzuki Harunobu

Meditation: 5:30 p.m.

Pacific Northwest Art: 12:30 p.m. Ken Gross: 2 p.m.

OPENS

Slow Looking 6 p.m.

Amy Bernstein: 6 p.m.

Jay Leno and Ken Gross 7:30 p.m.

10 CLOSES

History of the Avant-Garde: 12:30 p.m.

PUBLIC TOUR

Photography: 1 p.m.

Noon

PUBLIC TOUR

Native American Art 3 p.m.

RENTAL SALES GALLERY

New Artist Show Opening 5-8 p.m.

3 FAMILY TOUR

CONVERSATION

2 PUBLIC TOURS

Impressionism 12:30 p.m.

CURATOR CONVERSATION

PUBLIC TOUR

JULY MON

2018 TUE

WED

THUR

FRI

SAT

SUN

FAMILY TOUR

Animals in Art 12:30 p.m. PUBLIC TOUR

Collection Highlights 3 p.m.

PUBLIC TOUR

MUSEUM CLOSED

The Shape of Speed 1 p.m.

BABY MORNING

PUBLIC TOUR

The Shape of Speed 10 a.m.–12:30 p.m.

PUBLIC TOURS

Slow Looking 6 p.m.

CLOSES

MARVELS.

Glass in the Galleries 12:30 p.m.

STREAMLINED SUNDAYS

The Shape of Speed 3 p.m.

PUBLIC TOURS

Diebenkorn 1 p.m.

Cars in the Park 1–5 p.m. FAMILY TOUR

Meditation 5:30 p.m.

3 PUBLIC TOUR

4 MIDDAY ART BREAK

Collection Highlights 1 p.m.

CHAMBER MUSIC NORTHWEST CONCERT

Diebenkorn 1 p.m.

1 p.m.

12 OPENS

Picture This: 1:30–3 p.m.

PUBLIC TOUR

BETWEEN.

ARTIST TALK

Asian Art 3 p.m.

PUBLIC TOUR

Seeing Science in Art 12:30 p.m.

PUBLIC TOUR

The Shape of Speed 3 p.m.

PUBLIC TOURS

SUNDAY PARKWAYS

Diebenkorn 3 p.m.

FAMILY TOUR

Green Loop 11 a.m.–4 p.m. Stories in Art 12:30 p.m.

PUBLIC TOUR

19 PUBLIC TOURS

The Shape of Speed 1 p.m.

Colorific 12:30 p.m.

Shape of Speed: 6 p.m.

Northwest Art: 3 p.m FAMILY TOUR

Psychology of Perception 12:30 p.m.

Slow Looking 6 p.m.

PUBLIC TOUR

PUBLIC TOURS

Meditation: 5:30 p.m.

James Allen: 6 p.m.

PANEL TALK

6 p.m.–9:30 p.m.

Photography: 1 p.m.

Noon

PUBLIC TOUR

6 MONSTER DRAWING RALLY

European Art 1 p.m.

PHOTOGRAPHY BROWN BAG TALK

9:15 a.m.–11:30 a.m.

5 PUBLIC TOURS

12:30 p.m.

ART & CONVERSATION

Let’s Go on Vacation: 12:30 p.m.

20 PUBLIC TOUR

Native American Art 1 p.m.

Slow Looking 6 p.m.

Photography 3 p.m.

PUBLIC TOURS

FAMILY TOUR

Collection Highlights 3 p.m.

PUBLIC TOUR

Art and Activism 12:30 p.m.

Animals in Art 12:30 p.m. The Shape of Speed 3 p.m.

PUBLIC TOUR

American Art 1 p.m.

23/30

24/31

AUGUST MON

TUE

2018 WED

THUR

FRI

BABY MORNING

SAT

PUBLIC TOUR

Asian Art 10 a.m.–12:30 p.m.

SUN

MEMBERS DAY

Slow Looking 6 p.m.

MILLER FAMILY FREE DAY

10 a.m.–8 p.m.

10 a.m.–5 p.m.

PUBLIC TOURS

Diebenkorn: 1 p.m. Meditation: 5:30 p.m.

PUBLIC TOUR

MIDDAY ART BREAK

Photography 1 p.m.

2 PUBLIC TOURS

The Shape of Speed 1 p.m.

12:30 p.m.

PATRON SUMMER PARTY

3 PUBLIC TOUR

4 PUBLIC TOURS

Slow Looking 6 p.m.

5 CLOSES

APEX: Hannah Piper Burns

Picturing Oregon 12:30 p.m.

FAMILY TOUR

The Shape of Speed 3 p.m.

Stories in Art 12:30 p.m.

PUBLIC TOUR

Diebenkorn 3 p.m.

PUBLIC TOURS

9 PUBLIC TOURS

Northwest Art 1 p.m.

10 PUBLIC TOUR

European Art: 1 p.m.

O ART & CONVERSATION

15 PHOTOGRAPHY BROWN BAG TALK

9:15 a.m.–11:30 a.m.

Native American Art 1 p.m.

PUBLIC TOUR

17 PUBLIC TOUR

Photography 1 p.m.

J. Frederic May Noon

PUBLIC TOUR

Grace Kook-Anderson 6 p.m.

Slow Looking 6 p.m.

FAMILY TOUR

PUBLIC TOURS

PUBLIC TOUR

PAM Staff Art Show opening night 5-8 p.m.

RENTAL SALES GALLERY

Animals in Art 12:30 p.m.

Seeing Science in Art 12:30 p.m.

PUBLIC TOUR

Modern and Contemporary Art 3 p.m.

The Shape of Speed 3 p.m.

Diebenkorn 3 p.m.

Collection Highlights 3 p.m.

CURATOR CONVERSATION

PUBLIC TOUR

Art and Activism 12:30 p.m.

Anthony Hudson / Carla Rossi: 6 p.m.

Let’s Go on Vacation 12:30 p.m.

PUBLIC TOURS

ARTIST TALK

12 FAMILY TOUR

APEX: Avantika Bawa

Slow Looking 6 p.m.

Meditation: 5:30 p.m.

11 OPENS

23 PUBLIC TOUR

Diebenkorn 1 p.m.

PUBLIC TOUR

Collection Highlights 1 p.m.

24 Slow Looking 6 p.m.

SEPTEMBER MON

TUE

2018

WED

THUR

FRI

SAT

SUN

PUBLIC TOURS

FAMILY TOUR

European Art 3 p.m.

PUBLIC TOUR

Pacific Northwest Art 12:30 p.m.

Seasons in Art 12:30 p.m.

Collection Highlights 3 p.m.

PUBLIC TOUR

BABY MORNING

The Shape of Speed 1 p.m.

PUBLIC TOUR

Diebenkorn 10 a.m.–12:30 p.m.

Slow Looking 6 p.m.

Northwest Art 1 p.m.

4 PUBLIC TOUR

Collection Highlights 1 p.m.

6 PUBLIC TOURS

7 PUBLIC TOUR

The Shape of Speed 1 p.m.

12:30 p.m.

PUBLIC TOUR

The Shape of Speed 3 p.m.

Richard Diebenkorn: Beginnings 2 p.m.

5 MIDDAY ART BREAK

Diebenkorn 3 p.m.

Play That Tune: Music in Art 12:30 p.m.

LECTURE

Meditation 5:30 p.m.

FAMILY TOUR

Listening to Art 12:30 p.m.

PUBLIC TOURS

8 PUBLIC TOURS

Landscapes in Art 12:30 p.m.

Slow Looking 6 p.m.

9 CLOSES

Shape of Speed FAMILY TOUR

Diebenkorn 3 p.m.

Let’s Go On Vacation 12:30 p.m. PUBLIC TOURS

The Shape of Speed 3 p.m.

11 ART & CONVERSATION

12 PHOTOGRAPHY BROWN BAG TALK

9:15 a.m.–11:30 a.m.

PUBLIC TOURS

Collection Highlights: 1 p.m.

Noon

PUBLIC TOUR

Picture This: 1:30–3 p.m.

Asian Art 1 p.m.

PUBLIC TOUR

Diebenkorn FAMILY TOUR

Collection Highlights 3 p.m.

Representation vs Abstraction 12:30 p.m. PUBLIC TOURS

Modern and Contemporary Art: 1 p.m.

Diebenkorn 3 p.m.

20 PUBLIC TOUR

Native American Art 1 p.m.

16 CLOSES

Impressionism 12:30 p.m.

ARTIST TALK

15 PUBLIC TOURS

Slow Looking 6 p.m.

Meditation: 5:30 p.m.

PUBLIC TOUR

Veronica Guzman: 6 p.m.

21 PUBLIC TOUR

Slow Looking 6 p.m.

22 PUBLIC TOURS

FAMILY TOUR

Photography 3 p.m.

PUBLIC TOURS

Mythology at the Museum 12:30 p.m.

23 Listening to Art 12:30 p.m. Collection Highlights 3 p.m.

1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430

BMW, R7 Concept Motorcycle, 1934. Photo: Peter Harholdt

RICHARD DIEBENKORN Beginnings, 1942–1955 JUNE 16 – SEPTEMBER 23, 2018

Richard Diebenkorn, Untitled (Horse and Rider), 1954. Oil on canvas, 21 x 24 in. (53.3 x 61 cm). Catalogue raisonné no. 1351 © Richard Diebenkorn Foundation.