Portal, Fall 2022

FALL 2022

dakota modern: the art of oscar howe

jeffrey gibson: they come from fire symbiosis

2 FROM THE DIRECTOR

3 EXHIBITIONS & INSTALLATIONS

Dakota Modern:

The Art of Oscar Howe

Jeffrey Gibson:

They Come From Fire

Human | Nature: 150 Years of Japanese Landscape Prints

Traces

Otis Quaicoe: (s)kin deep

Continuing Exhibitions

Upcoming Exhibitions

13 NEWS & NOTEWORTHY

Partnerships, Programs, and Community

Swimming Home: Tlingit Objects Returned to Alaska Tribe

They Come From Fire Glass Forged Locally

Japan Foundation Assistant Curator of Japanese Art

Portland Book Festival

Portland Fine Print Fair

Broken Window Leads to Beautiful Art at Rental Sales Gallery

21 PAM CUT

Symbiosis Artist Services

25 MEMBERS & PATRONS

Just for Members

Patrons

Patron Spotlight

29 GIFTS & GATHERINGS

PORTAL, VOL. 11, ISSUE 3

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 engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations.

The Portland Art Museum recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah, and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.

COVER: Oscar Howe (Yanktonai Dakota, 1915–1983), Fighting Bucks, 1967. Casein on paper, 20 1/4 x 26 15/16 in. National Museum of the American Indian 27/0217; Oscar Howe (Yanktonai Dakota, 1915–1983), Umine Dance 1958. Casein and gouache on paper, mounted to board, 18 x 22

Garth Greenan Gallery, New York, courtesy of the Oscar Howe Family; Glass panel for Jeffrey Gibson, They Come From Fire, 2022, site-specific installation, image courtesy of Bullseye Glass Co./Bullseye Studio; Katsushika Hokusai (Japanese, 1760–1849), Yōrō Falls in Mino Province from the series, A Tour of Waterfalls in Various Provinces, 1833/1834, The Mary Andrews Ladd Collection, 32.443.

FROM THE DIRECTOR

The Portland Art Museum’s founders were rooted in the idea of offering the broadest possible exposure to art to the citizens of our growing city, many of whom did not have access to the art centers at the time. Just as libraries have long served as portals to a universe of knowledge, for 130 years our art museum has served to bring the world to Portland, and Portland to the world.

Reflecting today on the mission and purpose of our Museum, I am gratified by how we are continuing to deploy our collections and the knowledge of our staff and community to learn, adapt, and write a more expansive and inclusive way forward.

One exciting example is Dakota Modern: The Art of Oscar Howe. I am grateful to Kathleen Ash-Milby, Curator of Native American Art, for her deep insight into curating this important exhibition. During his lifetime, Oscar Howe was a painter celebrated among a select group of enthusiasts and students and a Native artist whose work inspired many, and yet the art-historical canon had not recognized his contributions. This exhibition and its accompanying catalog strive to change that. Presenting contemporary Native artist Jeffrey Gibson’s They Come From Fire alongside Howe’s work, and adjacent to our Native American collection galleries, is a beautiful expression of the expansive and inclusive vision we believe in.

I want to extend my thanks to you, our members, for continuing to support our work. This past summer we hosted exhibitions and warm-weather favorites like PAM CUT’s outdoor movies, as well as an incredibly diverse array of youth and student programs—from a Middle Eastern student leadership group examining the role of art in democracy, to a program with youth from the Centro Cultural in Washington County. The fall arts season is here, and we cannot wait to see you in the galleries again soon.

Brian J. Ferriso Director and Chief Curator

DAKOTA MODERN: The Art of Oscar Howe

OCTOBER

BY KATHLEEN ASH-MILBY, CURATOR OF NATIVE AMERICAN ART

When the Dakota artist Oscar Howe passed away in 1983, he had become a legend among Native artists as much for his paintings as his bold strike against the gatekeepers of Native American art in the mid-20th century. A student of both Dakota artistic traditions and modernism, he created artwork steeped in cultural knowledge but expressed in a distinctly dynamic approach.

Despite what was arguably conventional subject matter, the vivid abstract forms and dynamic motion in Howe’s paintings were unsettling to some who were more comfortable with the tranquil and nostalgic approach to Native American painting that had been largely established in the early 20th century by students of the Santa Fe Indian School and painters working in Oklahoma. After one of

Howe’s paintings was rejected from competition by the jurors for the Philbrook Museum of Art’s annual Indian painting exhibition in 1958, he fired off a passionate letter to the museum including the withering words, “Who ever said that my paintings are not in the traditional

Indian style has poor knowledge of Indian art indeed.” His advocacy also included establishing a summer workshop for Native American students at the University of South Dakota, which he led for nearly 20 years, to encourage them to pursue a university education and career in the arts.

While Oscar Howe’s stature as the “grandfather” of contemporary Native American art has lived on, he was never recognized widely for his achievements and, until Dakota Modern: The Art of Oscar Howe debuted in New York this past spring, was all but unknown in the larger art world. This exhibition seeks to secure his legacy as an important mid-century artist and American modernist, expanding the recognition of modernism beyond the elite circle of artists recognized in the canons of American art and global modernism. While newcomers to Howe’s work will be immediately taken with his expressive yet fastidiously detailed paintings— which New Yorker art critic Peter Schjeldahl described as “power-packed compositions” with “aggressive hues” and the “channelling of sheer, visionary imagination”—the exhibition will also give viewers insight into his development and tools for understanding the content of his work.

TOP RIGHT: Umine Dance 1958. Casein and gouache on paper, mounted to board, 18 x 22 in., Garth Greenan Gallery, New York, courtesy of the Oscar Howe Family; BOTTOM LEFT: Oscar Howe, seated in front of a selection of his paintings at South Dakota State University. March 30, 1958.

After an initial introduction to some of Howe’s most dynamic compositions, viewers will begin the exhibition with his earliest student work from the 1930s, including several paintings, such as the serene Blue Antelope, which show the stylistic and cultural influences that came to define a movement known as “Studio Style” or Traditional American Indian Painting in the 20th century. His development rapidly advanced between these early years and his work in the 1940s and 1950s, as his approach was informed by experiences as a WPA artist and his art degrees earned at Dakota Wesleyan and the University of Oklahoma. As the viewer moves through the exhibition which focuses largely on his mature work in the late 1950s and 1960s, they will learn about the content of Howe’s work as a storyteller who depicted Dakota and Lakota creation stories, cultural figures, and practices, as well as his technique and masterful use of line and color. The exhibition concludes with a gallery film focused on his biography, including his connection to popular culture through his decades-long work as a mural designer for the “Corn Palace” in Mitchell, South Dakota, and his appearance on the television show This Is Your Life, hosted by actor Vincent Price.

We hope our audiences here in Portland will find Oscar Howe’s work both beautiful and inspiring, leaving the exhibition with a deeper appreciation for this American master whose legacy of innovation and advocacy will continue to inspire generations. An extensive, multiauthored catalog is available for those who want to know even more about Oscar Howe’s life and art.

Organized by the Smithsonian’s National Museum of the American Indian and the Portland Art Museum. Curated by Kathleen Ash-Milby. Major support provided by the Henry Luce Foundation. Additional support provided by the Wyeth Foundation for American Art. Support for the Portland Art Museum installation provided by the Institute for Museum and Library Services, grant MA249741-OMS-21, Ameriprise Financial, The Standard, Greg and Cathy Tibbles, The Boeing Company, the Ed Cauduro Fund of the Oregon Community Foundation, Joe and Cathleen Karcher, Lani McGregor and Daniel Schwoerer, and Wells Fargo Foundation.

Public Programs

Team Howe:

PANEL DISCUSSION

SUNDAY, OCTOBER 30, 2022, 2 P.M.

WHITSELL AUDITORIUM

Join exhibition curator Kathleen Ash-Milby, and colleagues who contributed to the exhibition and publication of Dakota Modern: The Art of Oscar Howe, including Bill Anthes (Pitzer College), John Lukavic (Denver Art Museum) and Christina Burke (Philbook Museum of Art), for a lively discussion about the development of this project.

Voices Like Thunder:

AN AFTERNOON OF POETRY WITH THE NATIVE ARTS AND CULTURES FOUNDATION

SUNDAY, NOVEMBER 6, 2022, 2–4 P.M.

PORTLAND ART MUSEUM, FIELDS BALLROOM, 1119 SW PARK AVE.

This event is a partnership between the Portland Art Museum and the Native Arts and Cultures Foundation in conjunction with the exhibitions Jeffrey Gibson: They Come From Fire and Dakota Modern: The Art of Oscar Howe. This event has been developed through fostered community partnerships and is part of the Portland Book Festival Cover to Cover Program 2022.

Symposium: Oscar Howe

FRIDAY–SATURDAY, APRIL 14–15, 2023

In this two-day event of lectures, panels and gatherings, scholars, curators, writers, and artists share their research and thinking about the life and work of Oscar Howe, in honor of his contributions to the contemporary Native American art field. We invite the public to join us for a keynote lecture by contemporary artist and curator Dyani White Hawk on April 14.

Tickets required. For ticket information visit portlandartmuseum.org.

JEFFREY GIBSON: They Come From Fire

OCTOBER 15, 2022 – FEBRUARY 26, 2023

BY KATHLEEN ASH-MILBY, CURATOR OF NATIVE AMERICAN ART

Anticipation has been building for the siteresponsive exhibition They Come From Fire by Jeffrey Gibson, opening this October at the Portland Art Museum. Gibson, who is a member of the Mississippi Band Choctaw and of Cherokee descent, is one of the preeminent Native artists working today. He began his career primarily as a painter over 20 years ago, but has expanded his practice into sculpture, mixed media, installation, video, and public art.

We invited Gibson, who is known for his adventurous use of materials, brightly hued geometric abstraction, and social commentary, to create an installation that would be in dialogue with a concurrent exhibition by the mid-century Dakota painter Oscar Howe.

Although they come from very different generations, there is a synergy between

Howe’s lifetime of advocacy for Native art, as well as his nurturing of the next generation of artists as an educator for most of his career.

Visitors will begin to experience They Come From Fire when they approach the building and encounter Gibson’s graphic designs on the museum’s facade windows, which will be filled with color. Sixty of the window panes will foreground Indigenous history in Portland, creating a timeline from 1805 to the present that reflects well-known historical events interwoven with personal milestones sourced from our diverse Portland community. The centerpiece of his exhibition will be 12 glass panels suspended in the Museum’s interior Schnitzer Sculpture Court, each emblazoned with a statement of power and resilience such as “They Protect the Land” and “Our Bodies, Our Rules.” The rectangular format and messages echo protest posters, both defiant and bold, touching on recent events in Portland and a wider societal acknowledgement of the presence of Native people and history.

these two artists who share a passion for both abstraction and vibrant color as well as cultural affirmation and celebration. As a Native artist who has forged his own path while remaining true to his artistic heritage, Gibson embodies

For Gibson, an important goal of this project is to foreground the local, multi-tribal Indigenous, BIPOC, and LGBTQ+ communities, many of whom will be featured in black-and-white portraits taken earlier this year on top of the empty monument pedestals in the Park Blocks. The choice to engage with the empty monument pedestals was purposeful; pedestals are meant to venerate and honor. By placing

Indigenous and other community members literally “on a pedestal,” Gibson is reinscribing these contested sites of strife with positivity and new meanings. To further challenge the use of the pedestals, Gibson asked participants in the project to come as they wanted to be seen rather than directing their appearance to send any particular message. Several brought keepsakes from deceased family members or other items central to their identity such as music or posters. Some wore traditional regalia and others regular street clothes. The subjects include individuals, families and friends, children and elders, and groups such as the 7 Waters Canoe Family.

Light will be projected through the glass panels, washing these portraits with a rainbow of color. Together, the timeline, glass works, and portraits will combine to create a powerful representation of our diverse Native community.

Organized by the Portland Art Museum and curated by Kathleen Ash-Milby, Curator of Native American Art. Support provided by the Institute for Museum and Library Services, grant MA-249741-OMS-21, The Broad Foundation, the National Endowment for the Arts, Ameriprise Financial, Sikkema Jenkins & Co, Greg and Cathy Tibbles, and the Jordan Schnitzer Family Foundation.

OPPOSITE PAGE,

Jeffrey Gibson design for a glass panel;

PAGE,

of Bullseye Glass Co./Bullseye Studio. THIS PAGE, TOP LEFT: Jeffrey Gibson, They Come From Fire, 2022, site-specific installation, Portland Art Museum. Detail: Terresa White. Photo by Brian Barlow.

HUMAN | NATURE: 150 Years of Japanese Landscape Prints

OPENS DECEMBER 3, 2022

Through the lens of landscape prints, this exhibition explores Japan’s journey with and through nature during the 19th century and into the modern age, revealing the reverential, familiar, and playful spirit in which people held the trees, mountains, and rivers around them.

World-renowned print artists Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858) mirrored and molded people’s relationship with nature, inviting them to roam remote mountain passes interspersed with vertiginous waterfalls, or reflect on the lyrical beauty of legendary meisho (famous places). These artists show us how nature can awe and inspire, as in Hokusai’s magisterial tribute to Japan’s most revered peak, the Thirty-six Views of Mt. Fuji. Hiroshige’s snapshots of urban flora and fauna in the series One Hundred Famous Views of Edo also capture how nature charms and surprises as it insinuates itself into city life.

Later woodblock prints reveal that landscape continued to play a pivotal role in the lives and identity of Japanese people into the 20th century. Nature wreaked havoc on human life in the Great Kantō Earthquake of 1923, as dramatically visualized in prints by Nishizawa Tekiho (1889–1965) and his colleagues, but it also offered sites of enduring cultural memory and solace in a hectic modern age. This exhibition will draw upon highlights of the permanent collection to visualize just some of the many ways in which the human-nature relationship has unfolded in Japan.

A selection of prints by American and Japanese artists working in the Pacific Northwest, including Gordon Gilkey (1912–2000) and Sekino Jun’ichirō (1914–1988), will also be showcased in this exhibition, suggesting how the human affinity for nature transcends time and place and resonates with us here and now in Portland.

Organized by the Portland Art Museum and curated by Helen Swift, The Japan Foundation

Assistant Curator of Japanese Art. Support provided by the Japan Foundation.

TRACES

THROUGH APRIL 23, 2023

Now on view in the Jubitz Center for Modern and Contemporary Art, Traces presents poetic reflections on memory in contemporary art. Art has long played a role in aiding memory by depicting detailed stories through history painting, epic poems, or song cycles. It is also a space for artists to give physical forms to cerebral or emotional sensations. This exhibition, featuring recent acquisitions alongside artworks borrowed from private collections, showcases seven international artists who evocatively capture the traces of events, people, or places, as remembrances of real experiences or projections of imagined ones.

region's conflict as well as feelings of society’s precarity. In her Reconstructions series of prints, Huma Bhabha draws on top of photographs of architecture and landscape that she took on a visit to her home country of Pakistan. Her gestures suggest the layers of subjective memories that shape perceptions of shared public spaces. Theaster Gates uses roofing materials like tar, bitumen, copper nails, and wood to connect the trade learned from his father to his pursuit of abstract painting.

Anne Chu, Nohemí Pérez, and Maja Ruznic depict the figure and each uniquely attests to the way memories are indelibly centered on human action and our perceptions of each other. As a refugee from the war in the former Yugoslavia, Ruznic draws on personal and collective memories of this trauma to convey hidden, or buried, aspects of the psyche. Ruznic likens her painting process to emerging from a dream: thin layers of oil paint reveal ghostly figures and as shapes bleed into each other, borders between human, nature, and memory symbolically also dissolve.

Tatiana Trouvé explores memory’s fallibility in two large drawings that consider the sense of

loss when memory fails. As she explains, “I try to leave things open to a form of disorientation and the possibility of navigation. I am more sensitive to the physical and mental wavering that the works can produce than I am attentive to a position from which they should be seen or understood in this or that way.”

Curated by Sara Krajewski, the Robert and Mercedes Eichholz Senior Curator of Modern and Contemporary Art. Supported in part by Exhibition Series Sponsors.

ONLINE: Visit our website to learn more about Nohemí Pérez’s Palmar series, from which three powerful works were recently acquired for the Museum’s collection with generous acquisition support from the Northern Trust Purchase Prize, Sharon and Keith Barnes, Mary and Don Blair, Diane and Herb Rankin, and Pat and Trudy Ritz.

Works by three artists reflect upon how memory, experience, and place intertwine. In Unsettled (Jerusalem), Cornelia Parker gathered discarded pieces of wood from the streets of that Middle Eastern city. Suspended together to hover just above the gallery floor, these simple objects conjure thoughts of the

BOTTOM,

OTIS QUAICOE: (s)kin deep

THROUGH DECEMBER 31, 2022

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

In common with artists like Robert Pruitt and Amy Sherald, Quaicoe chooses as models real people with whom he finds connections. This small body of work reflects Quaicoe’s interest in these individuals through portraits, studying not only the skin but the colors and expressions of identity through clothing. Quaicoe’s paintings offer rich, impasto textures in backgrounds and skies that reflect the stucco walls of traditional Ghanaian homes.

Man in Red Beret and Invisible both reflect the

ease of the subjects and the playful fashion expressions while the different contours of the skin provide a sculptural presence. In the untitled drawings of the two women, expression and individuality are illustrated through their dramatic hairstyles. For Quaicoe, Ouncie Mitchell is the artist’s representation of a real and imagined Black cowboy, set against the vast blue where the crown of the cowboy hat nearly fades into the bright sky.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

Quaicoe attended the Ghanatta College of Art and Design for Fine Art in Accra, Ghana, with a focus on painting. In his earliest influences, Quaicoe referred to the compositions and styles of hand-painted film posters and later developed a stronger interest in photography with an emphasis on portraiture. Quaicoe’s first solo exhibition in the U.S. was presented by Roberts Projects in Los Angeles in 2020. The following year, Quaicoe held an artist residency at the Rubell Museum in Miami followed by

a solo exhibition and has continued to exhibit nationally and internationally.

Curated by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art. Generous donations to the Museum’s Exhibition Series Fund and Artist Fund make exhibitions like these possible.

CONTINUING

PERSPECTIVES

THROUGH NOVEMBER 13, 2022

Continuing this fall, Perspectives features more than 70 works by local BIPOC (Black, Indigenous, People of Color) photographers made during the Black Lives Matter protests in 2020. Featuring work by artists Emery Barnes, Joseph Blake, Linneas Boland-Godbey, Daveed Jacobo, Mariah Harris, and Byron Merritt, Perspectives turns an important lens on this pivotal moment in our city’s history.

FORCES OF NATURE: Ecology in Japanese Prints

THROUGH DECEMBER 31, 2022

Forces of Nature: Ecology in Japanese Prints explores artistic responses to the environmental forces—some benign, some terrifying—that regulate life on this planet. The works featured in this exhibition consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

MAKING A MARK: Contemporary Drawings

THROUGH NOVEMBER 20, 2022

Featuring contemporary works on paper gifted to the Portland Art Museum by noted collectors of drawings Werner H. and Sally Kramarsky, Making a Mark showcases 23 artists whose drawing practices emphasize process, including William Anastasi, Arnold Kemp, Marco Maggi, Allyson Strafella, and Joan Waltemath.

SHADES OF LIGHT

Korean Art from the Collection

THROUGH DECEMBER 31, 2022

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices.

TOP: Emery Barnes, Solidarity, 2020, pigment print, courtesy of the artist, © Emery Barnes; Chiho Aoshima (Japanese, born 1974), Magma Spirit Explodes, Tsunami is Dreadful (detail), 2004, chromogenic print mounted to Plexiglas, 34 1/8 in x 117 in (each), Gift of Dominique Lévy, 2021.68.1a,b; George Negroponte (American, active Sweden, born 1953), Untitled, 1997-1998, diptych; watercolor on paper and acrylic on paper, each sheet: 9 in x 12 in, Gift of Sally and Wynn Kramarsky, 2009.13.10a,b; Kim Yikyung (Korean, born 1935), Moon Jar, 2017, porcelain, 19 1/2 in x 18 11/16 in, Museum Purchase: Funds provided by Asian Art Auction Proceeds, 2017.53.1.

HITO STEYERL: This is the Future

FEBRUARY 11 – MAY 27, 2023

Hito Steyerl creates films, installations, and new media works that focus on the complexities of the digital world, capitalism, and the implications of artificial intelligence (AI) for society. The exhibition features Power Plants, a series of video sculptures recently acquired by the Museum. These vibrant works depict brightly colored, digitally morphing imagery of fictional plants, generated by an AI that predicts their future evolution as healing remedies for contemporary social, political, ecological, and technological ills. This immersive environment includes an augmented-reality experience, exploring an imagined garden taking root in a changing landscape.

Organized by the Portland Art Museum and curated by Sara Krajewski, the Robert and Mercedes Eichholz Senior Curator of Modern and Contemporary Art. Supported in part by Exhibition Series Sponsors.

BLACK ARTISTS OF OREGON

JUNE 10 – DECEMBER 3, 2023

Black Artists of Oregon is an exhibition that highlights and celebrates the work of Black artists in and outside of the Museum’s collection. It is the first exhibition of its kind to consider the work of Black artists collectively in Oregon, who are often underrepresented and unacknowledged. Beginning in the 1920s through today, the exhibition captures the African American experience specific to the Pacific Northwest. Among the artists included in the exhibition will be Al Goldsby, Thelma Johnson Streat, Isaka Shamsud-Din, Ralph Chessé, Arvie Smith, Shedrich Williames, Harrison Branch, Robert Colescott, Adriene Cruz, Charlotte Lewis, and Carrie Mae Weems.

Guest curated by artist Intisar Abioto. Supported by the Institute of Museum and Library Services, Meyer Memorial Trust, Terra Foundation for American Art, The Ford Family Foundation, Ed Cauduro Fund of the Oregon Community Foundation, Oregon Heritage Commission, and the Museum’s Artist Fund.

AFRICA FASHION

FALL 2023

In October 2023, the Portland Art Museum will present Africa Fashion, a major exhibition from the Victoria and Albert Museum (V&A) in London that will celebrate the richness and diversity of African creativity, cultures, and histories, using fashion as a catalyst. Spanning iconic mid-20th century to contemporary designs, Africa Fashion will explore the vitality and global impact of a fashion scene as dynamic and varied as the continent itself.

The irresistible creativity, ingenuity, and unstoppable global impact of contemporary African fashions are celebrated in an extensive display of garments, textiles, personal testimonies, photographs, sketches, film, and catwalk footage in this exhibition. Many of the garments hail from the archives of iconic midtwentieth century African designers—Shade Thomas-Fahm, Chris Seydou, Kofi Ansah, and Alphadi. Alongside these are personal insights from influential contemporary African fashion creatives, including Imane Ayissi, IAMISIGO, Moshions, Thebe Magugu, and Sindiso Khumalo, as well as highlights from fashion trends of the day, which are on display for the first time.

Exhibition organized by the Victoria and Albert Museum, London. Curated for Portland by Julia Dolan, Ph.D., The Portland Art Museum’s Minor White Curator of Photography. Supported in part by Exhibition Series Sponsors.

PARTNERSHIPS, PROGRAMS, AND COMMUNITY

The first six months of 2022 ended on an incredibly high note as Frida Kahlo, Diego Rivera and Mexican Modernism from the Jacques and Natasha Gelman Collection closed with record levels of attendance. More than 300,000 visitors experienced this popular exhibition and its related programming that included live mural painting by local artists, a dual-language family guide, and a number of talks and discussions. The community’s enthusiasm for this important work was joyous.

Continuing through November, Perspectives is a powerful exhibition honoring the work of six BIPOC artists who photographed the Black Lives Matter protests in 2020. The exhibition opening was also a public Miller Family Free Day and coincided with the Portland Parks Foundation’s Paseo festival celebrating Portland’s diverse community of artists and community organizations. Portlanders were encouraged to walk the closed-off streets together, enjoy music and food, and learn from one another. A panel discussion with the artists and Don’t Shoot PDX founder Teressa Raiford on opening day drew visitors to hear about the artists’ work and process.

Writer Christopher Gonzalez said in an Oregon ArtsWatch article, “Perspectives feels as unique as the lives it is mourning. The large prints along the walls aren’t framed, and they feel like windows into a city-wide grief space. Through these soundless windows, pain and indignation beam in from the past like light falling on the floorboards of memory. It makes a place in my chest warm.”

Summer also saw the return of camps, and summer education partnerships at the Museum and PAM CUT. With vibrant new window coverings signaling a new day and a new brand for PAM CUT (formerly the Northwest Film Center), PAM CUT // Center for an Untold Tomorrow welcomed kids back downtown for summer camps after COVID put them on pause for the past two years. New this year were fashion filmmaking and a podcasting camp. Plus, adults had a DJ camp under the instruction of the one and only DJ Ambush from Museum partner The Numberz FM.

Students of all ages and backgrounds had transformative Museum visits through a number of new and long-standing partnership programs, including: Portland Public Schools Summer Arts Academy, offering select PPS students the opportunity to engage in Dance, Music, Visual Arts, Theatre, and Technical Theatre with additional minor classes; Portland State University’s Middle East Partnership Initiative (MEPI) Student Leaders Program; and World Oregon’s Iraqi Young Leaders Exchange Program.

More recent “pandemic partners” like Centro Cultural de Washington County and Wishram and Lyle school districts in rural Washington were able to finally visit the Museum after

THIS PAGE, BOTTOM: Perspectives opening reception. Left to right: Brian Ferriso, Julia Dolan, nykelle devivo, Linneas Boland, Daveed Jacobo, Mariah Harris, Intisar Abioto, Byron Merritt, Joseph Blake, Emery Barnes; TOP LEFT: Numberz staff at Paseo community gathering (left to right): DJ Ambush, Taiyah Marshall (Simone, the Waterbearer), Edouard Mbenza-Ngoma (King Edo).; OPPOSITE PAGE, TOP RIGHT: Purple Rain at Summer Outdoor Movies; MIDDLE RIGHT: Centro Cultural de Washington County Summer STEAM students discussed Frida and Diego Are Here with facilitators Mirka Jablonski and Kim Aziz. BOTTOM RIGHT: Summer Camp at PAM CUT.

previously experiencing the Museum only through remote programs such as the Miller Family Foundation art kits. Whenever possible, we connect students with artists and with art-making: The MEPI students met with Perspectives photographer Joseph Blake and came away inspired to develop community-

driven art exhibitions in their home countries. Centro Cultural students met IDEAL PDX artist Jessica Lagunas, learned about the process of creating the Frida and Diego Are Here mural, and were delighted to make collages full of Fridas and axolotls.

For the latest updates, follow our social media channels and subscribe to our email newsletter at portlandartmuseum.org.

SWIMMING HOME: Tlingit objects returned to Alaska tribe

Visitors to the museum this fall may notice a longstanding object missing from the Native American permanent collections galleries often referred to as the “killer whale hat.” More accurately described as the Keet S’áaxw in the Tlingit language, this hat and eight more objects were returned to their original purpose as cultural and ceremonial objects by the Naanya.aayí clan, based in Wrangell, Alaska.

In May, the museum hosted representatives from the clan, as well as other Tlingit community members, local Native leaders, and representatives from the Central Council of the Tlingit & Haida Tribes of Alaska, to complete the repatriation of these nine items claimed in 2002. Stories and songs were shared and gratitude expressed both by staff and guests at a private event to commemorate the longoverdue occasion.

Soon afterward, these objects—missed for many decades by their community of origin—were packed and returned to Alaska where they were danced by members of the clan at the event known as Celebration, in Juneau. This gathering brings together Native Alaskans from

all over the state every two years. Keet S’áaxw

is a sacred object and an object of cultural patrimony owned communally by the Naanya.aayí clan.

Crest hats, such as this one, have ongoing historical, traditional, and cultural importance

that is central to the Tlingit clan structure. The hat and other returned objects are necessary for the renewal and continued practice of Tlingit religious ceremonies, rituals, and traditions of their clans and clan leaders.

So while we will miss seeing this object in our galleries, it is now back home where it can continue to be beloved and danced by new generations.

TOP LEFT: LaVerne Wise, Seattle Tlingit & Haida Community Council, speaking to guests at the Portland Art Museum event recognizing the Tlingit repatriation, May 27, 2022; TOP RIGHT: Tribal representatives Richard Rinehart, Michael Hoyt, and Harold Jacobs, Cultural Specialist, Tlingit & Haida, at the Portland Art Museum event recognizing the Tlingit repatriation, May 27, 2022; BOTTOM RIGHT: Clan representative Michael Hoyt and Kathleen Ash-Milby, Curator of Native American Art, stand in front of the “killer whale hat” at the Portland Art Museum event recognizing the Tlingit repatriation, May 27, 2022. Photos by Nina Johnson.

THEY COME FROM FIRE GLASS FORGED LOCALLY

Jeffrey Gibson’s site-specific installation They Come From Fire (see pages 6–7) features 12 custom kilnformed glass panels made by glass fabricators at Portland’s Bullseye Studio. The glass used in these monumental panels is made by Bullseye Glass, a manufacturer of glass for artists all over the world. We asked them to talk about their process and what makes this project special.

What is kilnformed glass?

The terms kilnformed glass and fused glass can be used interchangeably. Kilnforming is the process of shaping different forms of tested, compatible kiln-glass (glasses of different colors that can be reliably and permanently fused together) into monolithic objects by placing them in a kiln where heat, gravity, temperature, and time transform the material into permanent, solid, monolithic objects.

What makes kilnformed glass special?

The experience of kilnformed art is interactive with the available light sources as well as one’s proximity and state of motion in relationship to the artwork. Kilnformed glass allows artists to introduce relief, texture, depth, varying degrees of color saturation, glass bending, and permanence into their work.

Precision combined with the great number of handmade moments throughout this practice demonstrates the idiosyncrasies of the artist’s vision, and also the idiosyncrasies of the process and the fabricators’ own hands.

You work with artists to achieve their vision. What was it like working with Gibson on this project?

Jeffrey Gibson has been a great partner. He very readily grasped what the glass could do and was able to combine this understanding with what he wanted the artwork to achieve. He had a clear vision and was able to provide us with artwork clear in its intent.

What joys and challenges did you discover during this project?

From the perspective of the fabrication team, the work itself was gratifying to make and to be around. It was also nice to be involved in a topical project—a project with impact and historical significance. There is so much color in this work, so much visual richness every day, and so much transition between the cold work and after it was fired—it was a moving experience every time we opened the kiln.

Images courtesy of Bullseye Glass Co./Bullseye Studio.

NEW CURATOR Museum Welcomes Helen Swift as Japan Foundation Assistant Curator of Japanese Art

The Portland Art Museum is pleased to welcome Helen Swift as our Japan Foundation Assistant Curator of Japanese Art. Swift’s 12-month position started in June 2022.

She is working with Jeannie Kenmotsu, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art, on a variety of duties related to Japanese art. This position is funded by the Japan Foundation to explore and illuminate the outstanding collection of Japanese art in the Museum’s Asian Art collection.

Swift has a BA in the History of Art from Queens’ College, University of Cambridge, and an MA in the History of East Asian Art from the School of Oriental and African Studies in London. She is currently pursuing her Ph.D. in the History of Japanese Art from Harvard University.

“With curatorial experience at institutions like the Royal Academy in London and the Harvard Art Museums, Helen brings a dual interest

in deeply researched and widely accessible exhibitions and programs to Portland,” said Dr. Kenmotsu. “In her curatorial projects, she has worked on topics ranging from Edoperiod Japanese painting to contemporary printmaking. The Portland community will have many opportunities to learn from the scholarly and public-facing projects she will undertake at the Museum.”

One of the Museum’s most prized collections will especially benefit from Swift’s work. “Over the next year, I’ll be focusing on cataloguing the Museum’s Japanese print collection,” she says.

“So far, it’s been a great way to get to know the wonderful array of traditional and modern prints at PAM.” Much of this collection was donated by Mary Andrews Ladd in 1932 and later by Gordon Gilkey, who was curator of prints and

drawings at the Portland Art Museum from 1978 to 2000. Gilkey donated more than 10,000 prints and drawings from his personal collection to the Museum; his donations form the backbone of the Museum’s graphic arts holdings and enhance particular strengths in 20th-century Japanese prints.

This fall, Swift is curating a show called Human | Nature: 150 Years of Japanese Landscape Prints, which explores Japan’s journey with and through nature during the 19th century and into the modern age. Read more on page 8.

The Museum is deeply grateful to the Japan Foundation for supporting the Assistant Curator position through its Museum Infrastructure Grant.

PORTLAND BOOK FESTIVAL

SATURDAY, NOVEMBER 5, 2022

Literary Arts’ annual Portland Book Festival, presented by Bank of America, returns to the Portland Art Museum and the South Park Blocks on the first Saturday in November. Over 100 authors and thousands of attendees will gather for this one-day intergenerational celebration of books and storytelling. In addition to author discussions, the festival offers story times for kids, a young-adult stage, an extensive book fair, live music, and food trucks. Pop-up readings will take place throughout the day in the Museum galleries, highlighting the intersections of literary and visual arts.

PORTLAND FINE PRINT FAIR

JANUARY 27–29, 2023

Opening Night Preview tickets coming soon at portlandartmuseum.org/printfair

FREE ADMISSION to Print Fair

SATURDAY, JANUARY 28, 2023, 10 A.M. – 6 P.M.

SUNDAY, JANUARY 29, 2023, 11 A.M. – 5 P.M.

The Portland Fine Print Fair returns as an in-person event in January 2023! After pivoting to an online format due to the global pandemic, we are delighted to welcome our community back to the historic Fields Ballroom for a lively gathering of carefully selected print dealers and publishers. You are invited to browse thousands of original prints, learn from the friendly dealers and curators, and purchase your next treasure.

Passes are $15 in advance and $25 day of event; youth attend free. Featured authors include Margo Jefferson, Fonda Lee, Colin Meloy, Tom Perrotta, George Saunders, Jess Walter, Renée Watson, and many more. New for 2022 are a book fair preview on Friday, November 4, and the PBF Cover to Cover program offering a week of events throughout Portland leading into the festival day. Learn more and purchase tickets at literary-arts.org/pbf.

Sixteen exhibitors will display original woodcuts, engravings, etchings, lithographs, and screenprints dating from the 14th century to the present day from Europe, the Americas, and Japan. Excellent work can be found in all price ranges, or just come to look and learn, take a curator-led tour, and enjoy the variety of graphic arts on display.

Admission is free on Saturday and Sunday, January 28–29. Join us for the Opening Night Preview on Friday, January 27, from 6 to 9 p.m., for the opportunity to view the fair before it opens to the public. The Preview is a benefit for the Print Department of the Portland Art Museum. Tickets can be purchased online at portlandartmuseum.org/printfair.

BROKEN WINDOW LEADS TO BEAUTIFUL ART AT RENTAL SALES GALLERY

BY MARK TINDLE, RENTAL SALES GALLERY MANAGER

Earlier this year, a window at the Rental Sales Gallery (RSG) was broken in an act of vandalism. Determined to create something positive from this, we decided that the board covering the damage should be a blank canvas for a beautiful work of art.

The result was Vesica Pisces Portal, painted by local artist and muralist Joseph The Human, one of our newest Member Artists. His striking landscapes and urban scenes are already a popular part of our inventory, drawing much praise and attention from our clientele. You can find examples of Joseph’s work at the RSG and his murals all across Portland.

From the moment that the mural was completed, it became a source of joy to those who saw it. Painted freehand with spray paint, this striking work creates a rich sense of stepping through a portal into a new world. A truly moving thought for entering a gallery

space filled with stunning regional art. And it ensures that the work lives up to its name!

We’re also delighted to say that one of the Gallery’s clients has just purchased the mural. On a visit here, they were so moved by the piece itself and the story of creating beauty in response to vandalism, that they made an offer for it which Joseph was delighted to accept.

The Gallery’s portion of the commission will be dedicated to the Museum’s Curatorial team, to support their continuing program of work focused on showcasing the numerous diverse voices in our local art scenes. RSG is proudly part of this mission.

Rental Sales Gallery is part of Portland Art Museum, showcasing over 200 regional artists. All of the works are available for rental or purchase. Contact the Gallery at rentalsales@ pam.org for more information.

SYMBIOSIS

NOVEMBER 12, 2022 – FEBRUARY 12, 2023

Have you ever wondered what it would be like to be a plant? Perhaps a frog, a slug, or an orchid-butterfly hybrid? Or maybe you’re not an organic lifeform at all!

This fall, the PAM CUT // Center for an Untold Tomorrow building at 934 SW Salmon St. will come to life with the U.S. debut of Symbiosis, a performative, multiuser, and multisensory installation in which the human body will be

redesigned to merge with technology and nature itself.

One of the first fully sensory Extended Reality (XR) storytelling experiences—including individualized haptic suits, soft robotics, VR audio and visual, as well as taste and smell-based story elements—Symbiosis takes immersive storytelling to a whole new level.

The latest from Dutch experience design collective Polymorf by directors Marcel van

Brakel and Mark Meeuwenoord, in partnership with Studio Biarritz, this XR experience for multiple users and multiple senses will transport you to 200 years into the future where a rich biosphere of mixed life-forms has taken over earth: human, animal, and machine hybrids. Allowing for each participant to embody one of these symbiotic life forms, our audience will transform into entirely new beings and envision a post-human world where there is no competition, only symbiosis.

“Polymorf’s experiential and immersive works— and their clever use of scent especially—have blown my mind for years,” said PAM CUT Director Amy Dotson. “Symbiosis is the kind of transformational interactive storytelling that really reflects who we are and what we want to do with artists and partners. We are so psyched that they have trusted us with the U.S. premiere and can’t wait for our audiences to snuggle up in their haptic suits, strap on their VR glasses, and travel into this brave new world of storytelling with us.”

How multisensory is this, you ask? All five senses are engaged as you are transformed into a post-human hybrid creature, and PAM CUT is the only place in the country where this can be experienced. When you arrive at the Center for an Untold Tomorrow, you will be welcomed in the front lobby and fitted into a suit specially designed for this exhibition. The suit contains custom-made fixtures that respond to the atmosphere once you are inside Symbiosis The VR headsets are also equipped with olfactory fixtures that will emit specially designed aromas to release in sync with your experience, and your sense of taste will be

activated with vegetarian snacks designed by master chefs.

Symbiosis is inspired by Donna Haraway’s book Staying with the Trouble, in particular a chapter in which the noted ecofeminist scholar imagines a post-humanist future with humans and monarch butterflies symbiogenetically joined. Talented actors such as Maya Hawke from Stranger Things voice the characters, which include variations on a Colorado river toad, a slime mold, a flowering camellia, and anglerfish, among others.

How It Works:

PAM CUT staff will monitor and assist participants throughout the entire experience. Each session runs for roughly 45 minutes and up to six people can participate at a time. Group sales and corporate or partner reservations are available upon request at development@pam.org. Tickets available at pamcut.org.

PAM CUT ARTIST SERVICES

Sustainability Labs support creative visions

In 2021, PAM CUT // Center for an Untold Tomorrow kicked off the first Sustainability Labs with a grant from The National Endowment for the Arts and generous contributions from Joan Cirillo and Roger Cooke, The King Family Foundation, and the Reil Foundation for Arts and Creativity.

Over the course of one week in October 2021, five mid-career multimedia artists met with

creative minds from Shadowmachine, Nike, Dark Horse, Venice Biennale and more; worked with a renowned media industry life coach; and were paired up with mentors specific to the fellows’ creative visions. Over the course of nine months, these fellows focused on creating sustainable practices for their business, creative, and personal growth, successfully reaching their individual goals of opening an animation studio,

selling their project to distributors, receiving representation, making their first feature, and scaling their business model and creative output.

This year, nearly three times more applicants submitted to take part in this year’s program, which begins October 17. We are pleased to introduce the 2022 Sustainability Labs Fellows.

JAMAL ADEMOLA

LOS ANGELES, CA ANIMATION, PERFORMANCE, DOCUMENTARY

ARIEL BASKA CENTREVILLE, VA NARRATIVE FILMMAKING, PODCASTING

BARRI CHASE PORTLAND, OR NARRATIVE FILMMAKING, TELEVISION

ROLAND DAHWEN PORTLAND, OR NARRATIVE AND DOCUMENTARY FILMMAKING

Fiscal Sponsorships provide new funding source for artists

PAM CUT is also thrilled to be offering fiscal sponsorships as part of its roadmap for artists. Fiscal sponsorships provide an avenue for taxdeductible fundraising that is often not available or feasible for individual creators and small production teams in our community.

The first project that has been selected by PAM CUT and Portland Art Museum staff is Fogtown, a TV series and video game project that blends handmade finger-puppets with

innovative 3D technologies. The project was chosen because of its forward-thinking approach and alignment with PAM CUT’s mission to challenge for whom, by whom, and how cinematic stories are told.

CARLA FORTE MIAMI, FL NARRATIVE FILMMAKING, PERFORMANCE, XR

For more information about Fogtown and how to submit a project proposal for fiscal sponsorship, visit pamcut.org

JUST FOR MEMBERS

130TH ANNUAL MEMBERS MEETING

WEDNESDAY, NOVEMBER 9, NOON

Join us in person at our Whitsell Auditorium or online via livestream for this year’s Annual Members Meeting! Members will hear from curators, trustees, and special guest speakers, get updates about new upcoming exhibitions, and elect new trustees for the year to come. We have a lot of exciting art and new media programming to look forward to in the year ahead! Watch your inbox for your email invitation with more details coming soon.

FALL MEMBERS OPEN HOUSE

THURSDAY, NOVEMBER 10, 5–8 P.M.

Enjoy a fun members-only night at the Museum exploring the galleries while the Museum is closed to the public! Learn about what goes on behind the scenes at the Museum and enjoy snacks, drinks, conversation, activities and more! Watch your inbox for more details coming soon!

MEMBERS MUSEUM STORE ONLINE SALE

THURSDAY & FRIDAY, DECEMBER 1–2

ONLINE ONLY

Our popular annual holiday sale is back!

Members can save an additional 10% (20% total!) off merchandise from the Museum Store online! Two days only! Details on how to redeem your discount online will be communicated by email, so watch your inbox for more info coming soon.

And don’t forget—memberships also make great gifts! Gift memberships are available in person at the Museum’s box office, by phone at 503-276-4249, or online at portlandartmuseum.org/membership.

DID YOU KNOW?

Your membership means more than just FREE Museum admission and discounts on PAM CUT screenings, classes, and programs. Membership dollars go toward important collaborative work with community partners, new arts and film programming, staffing, artist and educator services, caring for the art in our collections, and much more!

Upgrading your support can make even more of a difference–visit portlandartmuseum.org/ membership for a full list of levels and benefits and consider upgrading your membership today.

Plus, annual Automatic Renewal and Monthly Installment Plans are available to make renewing your membership easier than ever! Call us at 503-276-4249 sign up for Auto Renewal to have your membership renew automatically every year, or set up payments in monthly installments of as low as $13.33 a month!

Visiting the Museum as a Member

Members receive FREE for admission to the Museum (a savings of $25 per ticket)! Current membership card and/or photo identification are required for entry on the day of your visit. Please note that member tickets are limited to the named individuals on your membership cards. Members are not required to reserve tickets in advance at this time. We look forward to seeing you in the galleries soon!

The Museum also offers online lectures, film screenings, and web-based events at free or reduced cost to members. Make sure we have your current email address on file to stay connected with your Museum and never miss an invitation.

PATRONS YOU ARE THE GUARDIANS OF THE MUSEUM

Patrons are among the Museum’s closest supporters, elevating their contributions beyond membership in a spirit of philanthropy. Through special programs and enhanced access, Patrons get an insider’s view of how their annual support helps the Museum thrive and evolve.

PATRONS ENJOY BENEFITS SUCH AS:

• Invitations to exclusive events, including our annual gala, exhibition previews, and behindthe-scenes tours

• Invitation to curated local, national, and international travel opportunities

• Recognition in Portal, Portland Art Museum Magazine; on the website; and on campus

• Reciprocal member privileges at other museums nationwide

• Art rental and purchasing privileges at the Rental Sales Gallery

• Free or discounted admission to lectures, cinematic experiences, and programs

• 10% discount at the Museum Store

We offer Patrons opportunities to keep them engaged with the Museum in a varied, deep, and meaningful way. Interested in supporting the Museum as a Patron? Please contact Aashna Tiruvallur, Patron and Annual Giving Officer, at aashna.tiruvallur@pam.org or 503-276-4203.

For more information on the Patron Society, please visit our website pam.to/patron.

ANNUAL GALA

SATURDAY, OCTOBER 29, 2022

Join us at the Museum for one of our most exciting events of the year featuring a seated dinner, special performances, and honored guests. The Annual Gala returns after a threeyear hiatus to celebrate and raise essential funds for the Museum’s acclaimed exhibitions and educational programs. This year’s event will take place on October 29, 2022, and will acknowledge the innovative spirit and vitality of two important Native American artists featured in our fall exhibitions Dakota Modern: The Art of Oscar Howe and Jeffrey Gibson: They Come From Fire. Tickets are $300 per person.

To learn more and reserve your place, please visit us at pam.to/pam-2022-gala or contact harper.brokaw-falbo@pam.org.

PATRON EXCLUSIVE EVENT

HAPPY 130TH BIRTHDAY, PAM— CHAMPAGNE, TREATS & MORE!

MONDAY, DECEMBER 5, 2022, 11 A.M.–4 P.M.

For 130 years, the Museum’s community has fueled our creativity and empowered our mission. Your generosity makes it possible for us to tell many stories, celebrate, and exhibit important works by diverse artists. From free family days, to showcasing thought-provoking exhibitions, you help make art accessible to ALL.

Join us in person on Monday, December 5, 2022, 11 a.m.– 4 p.m. for a special celebration in honor of PAM’s 130th birthday. Drop by for champagne, goodies, and a 20% discount at the Museum Gift Shop.

MAKE ART YOUR LEGACY: Julia Dolan, The Minor White Senior Curator of Photography

Twelve years ago, Julia Dolan visited Portland for the first time to interview for a position as The Minor White Curator of Photography at the Portland Art Museum. Not only the role at the Museum, but something about Portland excited her.

Fast forward to today: After more than a decade as a curator here, Julia continues to believe in Portland, our Museum, and the arts and cultural ecosystem that exists in our community. While there is much work to be done, she is moved by the progress the Museum has made in collecting, exhibiting, and celebrating a wider range of stories through art.

To ensure that the Portland Art Museum continues to thrive and remain a cherished community asset long into the future, Julia has named the Portland Art Museum as one of the beneficiaries of her estate. Asked what inspired her to make this gift to the Museum, she explained, “I’ve seen museums grow and evolve in important and necessary ways over the past decade. I trust future generations of the Portland Art Museum staff to shape

the collections and programming in ways that will respond to the world they will exist in—not the world as it is now. Museums should be responsive to change and center their communities’ needs and desires, using art as a springboard to build greater empathy and connectedness.”

Plan Your Art Legacy

Planning for the future can be a daunting task for many, and if you have put off writing your will or estate plans, you are not alone. Estate planning is your opportunity to create a legacy.

Here are five simple steps you can take to begin your planning journey.

1. KNOW WHAT YOU HAVE: Create an inventory of all your assets

2. MAKE KEY DECISIONS:

Choose who you want to benefit through your will

3. CHOOSE A TEAM:

Assemble your estate planning team

A. Executor:

Carries out the terms of your will

B. Guardian:

Cares for your children and dependents

C. Agent for durable power of attorney: Acts as a financial decision maker

D. Agent for health care power of attorney: Makes health care decisions in case you are incapacitated

E. Estate planning attorney: Helps you document your decisions and wishes

4. MAKE IT OFFICIAL: Work with your estate planning attorney to document your wishes

5. CONGRATULATE YOURSELF: Estate plans not only help you create a legacy but help your loved ones carry out your wishes—it’s a big deal!

We’re here to help, and we would love to talk with you about how the Museum can be a part of your planning journey. Please contact Charu at charu.uppal@pam.org or 503-276-4315 if you need any resources to get started.

THANK

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Constance Acutanza and Margot Cortese

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Bradley Akamine Roudi Akhavein

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Alchemy Jewelry

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Art & Travel, LLC

Art Bridges Foundation Asian Art Council of the Portland Art Museum Stephen and Irene Bachhuber Janet Bailey and John Driscoll Joan Lamb Baldwin Amjad and Helen Bangash Braulio Baptista and Randall Stegmeier Kim and Brad Barker

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Anne Becker Miller and Michael Miller

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FRAME

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TOP LEFT: DJ LaPaushi and friend during Paseo community gathering in South Park Blocks; MIDDLE LEFT: Perspectives artist Emery Barnes talking to a visitor; BOTTOM LEFT: DJ O.G. ONE spinning in the AUX/MUTE Gallery exhibition as part of Miller Family Free Day; TOP RIGHT; Detail of the mural Frida and Diego Are

PDX

view in Schnitzer Sculpture Court; BOTTOM RIGHT: Visitors viewing Perspectives.

TOP

Fuchsia Lin at PAM CUT Fashion Filmmaking Summer Camp; TOP TWO RIGHT: PAM CUT Sightz & Soundz DJing Summer Camp;

Outdoor Movies screening of Purple Rain

Tom Janisse

The Japan Foundation, Los Angeles

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Dina Marie

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Dr. Patricia E. Sacks, M.D. Carol Salisbury Jordan and Emily Sanchez Marla Goldberg and Robert Sandberg

Ida Sanders and Stephen Wickman Sandoval Household C. William and Meredith Savery Mary M. Sayler Lindsay and Zach Schemers Leslie and F. Howard Schneider Dori Schnitzer and Mark Brown Jordan D. Schnitzer Paisley School District Schwab Charitable Fund Nick Schwartz and Susie Greenebaum Marcy Schwartz Wayne Schweinfest Douglas and Ella Seely Maura Sell and Vincent Logan David and Connie Selleck Benjamin Sferrazza and Mary Rotberg Anand and Carmen Shah Jo Shapland

Robert A. Shlachter Catherine and Jeremy Shrall Carol and Tom Shults Lisa and Lee Sickler Craig and Susan Siegel Michael and M. Kelly Sievers Sikkema Jenkins & Co

Linda and Arthur Sill Keith Simmons

Pamela Dewey Singer andAlan Michael Fishman

Dr. Eugene C. Skourtes andBonnie Skourtes

Skylight Collective Michael Smith and Amy Horstman Leighton and Christine Smith James Wiglesworth and Mary Smith Kim Smith and Michael Marxen Angela and Rex Snow Martha Spalding Siri Hoogen and Ethan Sperry Michael Sprinker

Mr. and Mrs. Thomas E. Stegman Susan Steinman

Peter and Karen Stenzel Helen Stern

Mr. and Mrs. William T. C. Stevens George Stevenson

Amy Stewart and Scott Brown Nick and Susan Stier Susan and Michael Stone Peter and Julie Stott Irene Strahm

Vicki Piekarski and William Stratton Frank Bence and David Strickland Elizabeth Sturtevant

Heidi M. Suess and David Brown Angela Summers Dr. Sara Sumpter

Janet Gillaspie and James L. Swenson Darci and Charlie Swindells Julie Taraska and Greg Milner Ramez and Marisol Tawadros Susan Teel

Claire Tenscher

Alida Thacher

The Broad Art Foundation

The Harold & Arlene Schnitzer CARE Foundation

The James F. and Marion L. Miller Foundation

The Northern Trust Company

The Reser Family Foundation

The Robert and Mercedes Eichholz Foundation

The Swigert Warren Foundation Elizabeth Thielman and Wayne Scott David and Nancy Thomas Greg and Cathy Tibbles Lou Ann Tiedemann Carrie Tilton-Jones Kevin Todd

Jacob Todd Cheryl Tonkin

Rena L. Tonkin

John and Margaret Toppel Sherry Torgerson Joseph and Christine Toscano

Robert Trotman and William Hetzelson

Hiroki and Kay Tsurumi

Ms. Julia Tully and Daniel Evans

Mark Turpel

Linda and Jonathan Twichell

United Way of San Luis Obispo County

Dr. John W. and Betty Long Unruhof OCF

Patricia and Thomas Valente

Lindsay Van Nice and Anthony Van Nice

Nancy Vartanian

Missy Vaux Hall

Marie A. VerMeer

Barbara Vick

Robin and Jim Virgin William Waddel

Elizabeth J. Wadsworth and Paul W. Peppis

J. Phillip Walchli

Darci Walker and Patrick Prothe

Kimberly Barta and Jeffrey S. Wallin

Mrs. Sharon Webb and Susanna Worthington

Robert F. Weber and Johnyne Wascavage

Elaine Weinstein

Glenn West and Victoria Quinn-Stephens

Mr. Walter E. Weyler

E. A. (Pete) and Beverly White Ana Wichman

Sue Wickizer and Dean Boyd Alice and Wim Wiewel

Sabine Artaud Wild

Willamette Dental Group

William G. Gilmore Foundation

Gayle and Stephen Wilson Karen and Richard Wilson

Gina Wilson Linda Wilson

Jim and Susan Winkler

David and Susan Wisdom

Mary and Edward Witte Roxanne and Tim Wolfe Terrell and Sheron Womack Kathleen M. Wood and Elizabeth R. Maunz

Myra South and Timothy Woods Susanna and Megan Worthington John and Rose Yandell

Rachel Yarger and Brad Meyer Henry R. Ybarra

Andrew Yorra

Gary Young

Jonathan and Pearl Yu Craig and Suzanne Zarling David and Sherri Zava Frances Zeman and Teddy Rothstein

Marti E. Zimlin

TRIBUTES

April 1-July 31, 2022

Guy Barron In Honor of Alix M. Goodman

Mary C. Becker In Memory of Grace Lungley

Robert Burke In Memory of Grace Lungley

Mary Ann S. Dunn In Memory of Nancy Lee McClelland

Alberta A. Fry In Memory of Nancy Lee McClelland

Susan Schnitzer and GregGoodman In Honor of Sharon Barnes

Susan Schnitzer and GregGoodman In Honor of Linda Andrews

Anne Holtz In honor of Mrs. David Becker

Joanne Lilley In Memory of Nani S. Warren

Diane F. McCall In Memory of Nani S. Warren

Gary T. Pederson In Memory of Grace Lungley

Sarah K. Potter In Memory of Mary J. Potter Mary Shapiro In Memory of Grace Lungley

Rhonda G. Starelli In Memory of Diane M. Plumridge

Rena and Cheryl Tonkin In Memory of Alan Baron Tonkin Janet Voss In Memory of Lynda Ater

LEARNING & COMMUNITY PARTNERSHIPS SPONSORS

As of August 31, 2022

Ed Cauduro Fund of the Oregon Community Foundation

FRAME Oregon Cultural Trust

The Reser Family Foundation

Robert Lehman Foundation Oregon Community Foundation

Joseph E. Weston Public Foundation of the Oregon Community Foundation

EXHIBITION SERIES SPONSORS

As of August 31, 2022

PRESENTING SPONSORS

William G. Gilmore Foundation

Laura and Roger Meier Family

The James F. and Marion L. Miller Foundation

LEAD SPONSOR

The Collins Foundation

Mary and Cheney Cowles Mary and Ryan Finley Flowerree Foundation

Nancie S. McGraw*

M.J. Murdock Charitable Trust

Dorothy Piacentini

Travers and Vasek Polak

MAJOR SPONSOR

Maribeth Collins Exhibition Endowment Fund

Pat and Trudy Ritz

The Smidt Foundation

The Standard

Charles and Darci Swindells

SPONSOR

The Sharon and Keith Barnes Endowment Fund

Nordstrom

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, the Regional Arts & Culture Council, and the Institute of Museum and Library Services.

ART HELPS THE ECONOMY FLOURISH

New study looks at link between culture and vital communities

Americans for the Arts, a national organization that builds recognition and support for the arts, will again include Portland in its sixth national study of the impact of the nonprofit arts and culture industry.

The highly regarded Arts & Economic Prosperity study documents the multiplier effect of your contribution to the Portland Art Museum as a part of the larger economic ecosystem. The previous survey in 2017 found arts and culture accounted for more than 22,000 jobs in Oregon and more than $687 million in total economic activity.

“Thriving communities need arts and culture because it brings us together,” said Portland City Commissioner Carmen Rubio, who serves as the city’s arts and culture commissioner. “It’s critical to recognize that the economic resurgence of the Portland region, particularly downtown Portland, depends on arts and culture organizations and venues.”

For the latest survey, Americans for the Arts is partnering with the Regional Arts & Culture Council in the Portland Metro area. Results will include data collected in 395 communities and all 50 states. Expected date of release is September 2023.

SHOP FOR ART

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

Rental Sales Gallery

Located at Southwest 10th Avenue and Jefferson Street, just behind the Museum, our Rental Sales Gallery offers a great opportunity to fill your walls with stunning art, through purchases or our art rental program. RSG is open for walk-in visits Tuesday–Saturday, 11 a.m. to 5 p.m.

Museum Store

Join us on Friday, October 28, 4 to 7 p.m., for the opening of RSG’s Fall Show. We will be showcasing over 150 newly acquired original artworks from our outstanding Member Artists. Mark your calendars and get the first look at some of the best in local art.

We welcomed nine new Member artists to the Gallery in our New Member Artists Show in September. Visit the Gallery in person or contact us to find out more about their beautiful artworks.

RSG has more than 1,000 original works of art by over 200 regional artists, all available for rental or purchase. Contact the Gallery at 503-224-0674 or rentalsales@pam.org to find out more.

The Museum Store is now online, with shipping and curbside pickup, and it’s easier than ever to browse the eclectic selections that the Store is known for. Visit store.pam.org and use discount code MEM1219 to receive your 10% member discount on the same great merchandise you’d see in-store, online! The Store remains open during Museum visitor hours (check portlandartmuseum.org for current hours and restrictions).

Support the Museum by shopping in our Museum Store or online at store.pam.org. Celebrate the art and beauty of the place we share, as well as our usual huge selection of cards, books, jewelry, handbags, scarves, and toys.

PAM Venues

The Museum’s ballrooms and other event rental spaces are available for community gatherings— reserve your special date now at artfulvenues. pam.org! All proceeds help fund the Museum’s learning and exhibition programs. Discounts for nonprofits are available. The Portland Art Museum follows COVID-19 safety guidelines for events in its rental venues.

Visit artfulvenues.pam.org.

The Museum’s beautiful Kridel Grand Ballroom (seen here at the Cinema Unbound Awards) features major upgrades to lighting and audiovisual systems for a state-of-the-art experience.

EXHIBITION SCHEDULE Opening JEFFREY GIBSON: THEY COME FROM FIRE October 15, 2022 – February 26, 2023

DAKOTA MODERN: THE ART OF OSCAR HOWE October 29, 2022 – May 14, 2023

HUMAN | NATURE: 150 YEARS OF JAPANESE LANDSCAPE PRINTS Opens December 3, 2022

Continuing APEX: SHARITA TOWNE AND A BLACK ART ECOLOGY OF PORTLAND Through October 30, 2022

AUX/MUTE GALLERY Through October 30, 2022 ISAKA SHAMSUD-DIN: ROCK OF AGES Through November 6, 2022 PORTRAITURE FROM THE COLLECTION OF NORTHWEST ART Through November 6, 2022 PERSPECTIVES Through November 13, 2022

MAKING A MARK: CONTEMPORARY DRAWINGS Through November 20, 2022 FORCES OF NATURE: ECOLOGY IN JAPANESE PRINTS Through December 31, 2022 OTIS QUAICOE: (S)KIN DEEP Through December 31, 2022

SHADES OF LIGHT: KOREAN ART FROM THE COLLECTION Through December 31, 2022 TRACES Through February 26, 2023

PROGRAMS

For the latest on virtual programs, pop-up happenings, and ongoing offerings, subscribe to our email newsletter and check our online calendar at portlandartmuseum.org/calendar CONTACTS

General Information 503-226-2811

Membership Information 503-276-4249 HOURS

Wednesday–Sunday, 10 a.m. – 5 p.m. Please check portlandartmuseum.org for the most up-to-date information on hours and admission rates.

ADMISSION

Members/Children (17 and younger)* free Adults $25

Seniors (62 and older) $22 Students (18 and older with ID) $22

*Children 14 and younger must be accompanied by an adult. Tickets available online.

FREE & REDUCED ADMISSION

Every Day

Children ages 17 and younger are free.

Arts for All – Oregon Trail Card holders can purchase up to two admissions and/or PAM CUT Whitsell screenings for $5 each Blue Star Museums Program – Offers free admission to the nation’s active-duty military personnel and their families

Multnomah County Library Discovery Pass – Two free adult admissions by using a Multnomah County Library account to reserve.

College Pass – $25 for a full year of free admission for college students. Register online, then present your student ID at entry.

BECAUSE OF YOU

It’s remarkable to see the many things we’ve accomplished together—because of you! Year after year, you, our members, donors, and community partners, continue to step forward with kindness and generosity, empowering our pursuit of making art accessible to all. Together, we are not only sustaining a Museum that is a reflection of our community, we are building a world where arts and culture remain a beacon of hope—now and into the future.

Thank you for being a part of our Museum family, for believing in the power of art, and for empowering our mission.

Detail from They Come From Fire installation..