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.
With summer coming to a close, our campus transformation project in full swing, and a slate of exceptional exhibitions on deck, we have a lot to celebrate and look forward to as museum members and as a community. We were excited to present Monet to Matisse: French Moderns alongside the companion installation of loans from the Kirkland Family, and to explore sneaker design with Future Now.
This fall, we look into the history of 1960s photography, graphic design, music, and fashion. Organized by the National Portrait Gallery in London, Paul McCartney Photographs 1963–64: Eyes of the Storm is a remarkable exhibition, revealing extraordinary photographs taken personally by the beloved musical icon. Also arriving this fall is Psychedelic Rock Posters and Fashion of the 1960s, organized by Mary Weaver Chapin, Ph.D., our Curator of Prints and Drawings. This exhibition features many prints from the permanent collection, plus some wonderful loans from local and national collectors and enthusiasts. I know that many of you have memories of your own from this period, and all visitors can appreciate the intersection of music, art, and design.
Jeffrey Gibson: the space in which to place me at the Venice Biennale closes in November. The impact and reach of this exhibition has been unprecedented, including the related education programs that will bring the themes of the exhibition to students across the country for years to come. Portland Art Museum members and our entire Portland community are proud of our historic involvement, which included Kathleen Ash-Milby, Curator of Native American Art, as the first Indigenous curator for the U.S. at the renowned Biennale.
Thank you, members, for your continued support and your enthusiasm about our campus transformation. In the coming months, you will have opportunities to get more involved with this once-in-a-generation effort to reimagine and reshape the museum experience.
Sincerely,
Brian J. Ferriso Director and Chief Curator
Portland Art Museum Board Chair and Connection Campaign Co-Chair Alix Meier Goodman, Director Brian Ferriso, and Trustee and Connection Campaign Co-Chair Angela Snow.
Photo by Mario Gallucci.
TRANSFORMING THE MUSEUM
CAMPUS TRANSFORMATION
What’s Happening Now
After years of planning, and now twenty months into construction, the Museum’s campus transformation is taking shape—from the external form of the rising Mark Rothko Pavilion to the planning for gallery reinstallation and grand opening festivities. This once-in-ageneration expansion and renovation project will completely transform the existing Museum and create a vital “cultural commons” in the heart of downtown Portland. With nearly 100,000 square feet of new or renovated space, the project will connect the Museum’s historic buildings, creating new galleries to display more of its expansive collection, and increasing accessibility throughout the campus.
The $111 million expansion is one of the most significant capital investments in the arts in the history of Oregon. The project centers on the creation of the new 24,000-square-foot Mark Rothko Pavilion, which will provide a new transparent, welcoming “front door” to the museum. Designed for increased visitor accessibility, the glass Pavilion will connect the Museum’s two historic buildings, creating streamlined circulation across all four floors of gallery space.
The spring and summer of 2024 saw major construction milestones completed, and members can look forward to enjoying the expanded and renovated campus in the fall of 2025.
PROGRESS HIGHLIGHTS INCLUDE:
• The relocation of the loading dock to Southwest Jefferson Street makes deliveries safer for all, including arriving visitors and school groups.
• The completion of the new conservation studio on the lower level of the Main Building, where restoration work on the Museum’s masterpiece Waterlilies by Claude Monet began this summer (see page 19).
• The completion of the steel structure for the Rothko Pavilion.
• Sidewalk improvements on Southwest Main Street at Park Avenue and 10th Avenue.
Curators have been working for many months on the vision for the reinstallment of the permanent collection galleries and also installing many new galleries and public spaces for the first time. New galleries and spaces include the former library, the Crumpacker Center for New Art, the new gallery above the loading dock with a floor-to-ceiling window overlooking Jefferson Street, a repurposed space adjacent to the Whitsell Auditorium offering installation and activation space for digital works, the Rothko Pavilion with a new double-height gallery offering space for large-scale sculpture installations and areas for rest and programming, and beautiful terraces and plazas throughout. Refreshed and reimagined spaces include a new gallery on the first floor of the Jubitz Center for Modern and Contemporary Art, a new home for Impressionism, and turning the former Park Avenue entrance into a space for art and activation.
When the doors open, members and visitors can look forward to an experience that is inclusive, welcoming, and joyful, and one that also celebrates beauty, delight, and reflection, both in the art and in the architecture of the new spaces. Stay tuned for more details about opening exhibitions, new acquisitions, and how to get involved.
BOTTOM: Mortenson construction team signing final beam; TOP: Mortenson construction team members shake hands after placing the uppermost beam during the topping-out ceremony on July 22.
What’s Happening Next
There is much to look forward to in the coming year as the campus transformation comes to life. With major demolition and foundational construction work completed, the next 12 to 14 months will see key elements of the project take shape. While much of it will be behind construction walls and fences, members will be among the first to know about reopening plans. The Museum will remain open throughout construction with special exhibitions and programs.
This fall and winter, construction highlights include the installation of the Mark Rothko Pavilion’s custom-made glass panels, the installation of two new passenger elevators, the completion of the Crumpacker Center for New Art in the former library space, continued work on the West and East plazas and Community Passageway, and the removal of the tower crane.
Members can look forward to a series of exciting events, beginning with our annual meeting in October. During this meeting, we will share all the latest updates and officially launch our fundraising campaign to our most important supporters—our valued Members. In Spring 2025, we will continue to host events that provide behind-the-scenes insights into the campus transformation. These events will include details on the de-installation and reinstallation of our collection, engaging conversations with curators, and much more.
Learn more about our Museum transformation at portlandartmuseum.org/campus-transformation.
How to Visit
Thank you, members, for your continued patience and support as construction progresses alongside our special exhibitions. The temporary main entrance remains on Southwest Park Avenue near Jefferson Street, and exhibitions on view include Paul McCartney Photographs 1963–64: Eyes of the Storm; Psychedelic Rock Posters and Fashion of the 1960s; and Throughlines: Connections in the Collection
NEW HOURS
Monday & Tuesday
Wednesday – Sunday 10 a.m. – 5 p.m.
*Free admission on the first Thursday of each month with extended hours to 7 p.m.
MUSEUM LEADERS ON THE IMPACT OF THE CAMPUS TRANSFORMATION
Portland Art Museum leaders Alix Meier Goodman, Board Chair and Campaign Cabinet Chair; Angela Snow, Board Member and Campaign Cabinet Chair; Karie Burch, Chief Development Officer; and John Goodwin, Director of Community Philanthropy, are at the forefront of the fundraising efforts for the Campus Transformation project. Their commitment to the Museum and enthusiasm for Portland are unmatched. Here, they share more about the impact this project will have on visitors, members, and the city.
What is happening at the Museum and how will it benefit visitors?
Karie Burch: Our Portland Art Museum is in the midst of a comprehensive campus transformation to expand and upgrade its public and gallery spaces in ways that reimagine the visitor experience to make the Museum and its growing collections more accessible to all. Central to the project is the construction of the transparent, nearly 22,000-square-foot Mark Rothko Pavilion that will provide a new, welcoming front door to the Museum, bridging PAM’s campus buildings.
How will this enhance the Museum’s role within the local and regional arts and culture ecosystem?
Angela Snow: The Portland Art Museum has been a civic cornerstone, educational resource, and beacon of inspiration for Portlanders and
visitors for more than 130 years. It is the only major art museum between Seattle and San Francisco. This project enhances the Museum’s ability to serve as a “cultural commons” drawing together local, national, and global audiences to connect through the arts and engage with the stories and ideas shaping our world.
What impact will this project have on the city of Portland?
Alix Meier Goodman: Our project comes at exactly the right moment for this city. Transforming the entire cultural campus will be a catalyst in revitalizing Portland’s downtown. As a significant destination, the Museum can play a key role in Portland’s rebirth, fostering community engagement, economic growth, and sense of pride in the city’s cultural heritage.
How will this enhance the Museum’s ability to connect with and serve broader and diverse communities?
John Goodwin: To me, the museum is a cherished beacon of hope which reflects the varied backgrounds and experiences of residents and visitors. Timely and meaningful programs create connections, inspiration, belonging and understanding among our diverse audiences, and we are striving to do more. My desire is that everyone, whatever their walk of life, whatever their race, and whatever their religion, will also feel that the Portland Art Museum is a beacon of hope.
The Museum collaborates and amplifies the work of historically underrepresented groups, including the BIPOC, Native, and disabled communities. As part of this, the Museum develops programs in partnership with many community groups, including NAYA (Native American Youth & Family Center); PHAME, an arts academy serving adults with intellectual and developmental disabilities; and The Numberz FM, an independent Black-owned radio station.
What is the fundraising goal for this campaign?
Karie: The $141 million campaign to realize the Portland Art Museum’s campus transformation includes $111 million to fund construction and renovation and a $30 million campaign to grow the Museum’s endowment and ensure its vitality as a preeminent civic resource for generations to come.
How can people who care about art, culture, and Portland get involved?
Karie: Come see firsthand what is happening here at PAM! All Members who attend the October 16, 2024, Annual Meeting will get a behind-the-scenes look at the incredible construction and Campaign’s fundraising progress. We encourage everyone to consider a gift that is meaningful to them, and we welcome in-person meetings with our team to discuss ideas and options.
LEFT TO RIGHT:
John Goodwin, Alix Meier Goodman, Brian Ferriso, Angela Snow, and Karie Burch.
EXHIBITIONS & INSTALLATIONS
PAUL McCARTNEY PHOTOGRAPHS 1963–64: Eyes of the Storm
SEPTEMBER 14, 2024 – JANUARY 19, 2025
“Every picture brings back memories for me. I can try and place where they were and what we were doing to either side of the picture. Pictures of us with the photographers, they bring back a memory like being in New York for the first time and being taken down to Central Park, and the New York hard-bitten cameramen shouting out, ‘Hey Beatle, hey Beatle.’ We’d look at them and they’d take the picture.
‘One more for the West Coast.’ I remember all of those stories.”
Paul McCartney Photographs 1963–64: Eyes of the Storm is an unprecedented exhibition, revealing extraordinary photographs taken by the beloved musical icon. Organized by the National Portrait Gallery in London, the exhibition will make its first West Coast stop at the Portland Art Museum on September 14, and continue through January 19, 2025.
Comprising recently rediscovered photographs from Paul McCartney’s extensive personal archive, more than 250 pictures invite visitors to intimately experience The Beatles’ meteoric rise from British sensation to international stardom. At a time when so many camera lenses were turned toward the Fab Four,
McCartney’s perspective from the inside out brings fresh insight to the band members, their experiences, the fans, and the Beatlemania phenomenon. Through these photographs, along with video clips and archival material, visitors can witness the dawn of the “British Invasion” that fundamentally transformed rock and roll music and global culture.
Captured by McCartney during a pivotal three-month period for The Beatles in late 1963 and early 1964, the photographs evoke an affectionate extended family album, picturing his fellow band members, John Lennon, George Harrison, and Ringo Starr, at a time when their lives were changing irrevocably.
The exhibition gives visitors a deeply personal glimpse into an extraordinary time for one of music’s enduring legends.
Eyes of the Storm also captures McCartney’s interest in the visual arts, with his photographs reflecting the aesthetics and popular culture of
—Paul McCartney
the period. The range of work, from portraiture and landscapes to documentary images, reveals McCartney’s familiarity with the formal styles of early 1960s photography. References to New Wave cinema, documentary filmmaking, and photojournalism can be found across the exhibition.
“Looking at these photos now, decades after they were taken, I find there’s a sort of innocence about them,” said Paul McCartney. “Everything was new to us at this point. But I like to think I wouldn’t take them any differently today. They now bring back so many stories, a flood of special memories, which is one of the many reasons I love them all, and know that
they will always fire my imagination.”
Paul McCartney Photographs 1963–64: Eyes of the Storm is curated by Paul McCartney with Sarah Brown on behalf of MPL Communications Limited and Rosie Broadley for the National Portrait Gallery, London, and organized for the Portland Art Museum by Julia Dolan, Ph.D., the Minor White Senior Curator of Photography.
Support provided by The Caryll M. and Norman F. Sprague Foundation, Kirk and Elizabeth Day, Arnold and Augusta Newman Foundation, Greg and Cathy Tibbles, Portland Art Museum Photography Council, and Exhibition Series Sponsors.
Arnold Newman Distinguished Lecturer in Photography
LISA HOSTETLER, PH.D., CURATOR AND ART HISTORIAN
SEPTEMBER 15, 2 P.M.
Join Lisa Hostetler for a discussion of American photography of the 1940s and 1950s, which influenced aspects of Paul McCartney’s own photographic growth. Dr. Hostetler, who teaches at the Rochester Institute of Technology, previously served as Curator in Charge, Department of Photography at the George Eastman Museum and Curator of Photographs at the Milwaukee Art Museum. Major curatorial projects include Color Rush: 75 Years of Color Photography in America and Street Seen: The Psychological Gesture in American Photography, 1940-1959
Sponsored by the Arnold and Augusta Newman Foundation.
TOP: Paul McCartney. George Harrison. Miami Beach, February 1964, Chromogenic print.
Paul McCartney.
PSYCHEDELIC ROCK POSTERS AND FASHION OF THE 1960S
OCTOBER 19, 2024 – MARCH 30, 2025
Vibrant, vibrating, illegible, surreal, and playful, the rock concert posters from 1960s San Francisco capture the energy and excitement of both the music and the era. Psychedelic Rock Posters and Fashion of the 1960s reveals the passion and creativity of this moment.
participants sought to access a realm of thinking beyond the visual world, typically through the use of LSD.
LEFT: Bob “Raf” Schnepf (American, born 1937), Jim Kweskin & His Jug Band, Country Joe & the Fish, Lee Michaels, Blue Cheer, December 28-30, Avalon Ballroom, 1967, offset lithograph, Museum Purchase: Portland Fine Print Fair Fund. Portland Art Museum, Portland, Oregon, 2023.72.2; BOTTOM RIGHT: San Andreas Fault (Tad Hunter) (American), Moby Grape, It’s a Beautiful Day, The Other Half, Tim Hardin, January 24 & 25, Winterland, 1969, color offset lithograph on paper, Gift of Gary Westford, from the Gary Westford Collection. Portland Art Museum, Portland, Oregon, 2019.29.80; TOP RIGHT: Stanley Mouse (American, born 1940); Alton Kelley (American, 1940–2008), “Skeleton & Roses”; Grateful Dead, Oxford Circle, September 16 & 17, Avalon Ballroom, 1966, color offset lithograph on paper, Gift of Gary Westford, from the Gary Westford Collection. Portland Art Museum, Portland, Oregon, 2023.69.11.
Music promoters Chet Helms and Bill Graham recruited talented young artists from San Francisco to make distinctive posters for their music venues, the Avalon Ballroom and the Fillmore Auditorium, respectively. To portray the heady experience of life and music at this time, poster artists invented a graphic language to communicate the excitement of rock concerts, which also featured liquid light shows and film projections. They drew on disparate historical precedents, such as French Art Nouveau designs, Wild West posters, Victorian engravings, and Renaissance art, and combined them with witty and provocative design. While deploying distortion, pattern, and surrealism, they juxtaposed heterogeneous objects to mimic the “psychedelic experience,” in which
Pulsating color combinations played a key role as well. Artist Victor Moscoso, who trained under renowned color theorist Josef Albers at Yale University, made this analogy: “The musicians were turning up their amplifiers to the point where they were blowing out your eardrums. I did the equivalent with the eyeballs.” Inventive lettering is another hallmark of this style. Originally inspired by Viennese posters of the 1900s, artist Wes Wilson developed a new typographic language that defined the moment. Other artists adopted and improvised on Wilson’s style, forming a dynamic and nearly illegible script that nonetheless spoke directly to their intended audience.
The exhibition brings together nearly 200 rock posters, including work by the “big five” designers of the day—Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson—as well as other superb talents,
TOP
such as Bonnie MacLean, Jim Blashfield, and Bob “Raphael” Schnepf. A few of the artists were highly trained, while others were entirely self-taught. All were young, tuned-in, and innovative. Their designs range from the playful to the profound and continue to speak to audiences today. In addition to the posters, the installation showcases 20 eclectic vintage styles, including buckskin fringe, tie-dye, velveteen, and silk, to demonstrate how fashion both reflected and influenced the psychedelic look of the posters.
“There are so many ways to explore this material,” curator Mary Weaver Chapin says. “We’re taking a design approach, asking how these artists developed a style that was immediately recognizable, spoke to the right audience, and looked entirely new while simultaneously borrowing heavily from other artistic and cultural signifiers.”
Portland was not left out of this creative flowering; many bands came here and to Eugene en route to Seattle, sparking a psychedelic poster explosion in our hometown.
A special gallery will be devoted to Portland venues, including Beaver Hall, Pythian Hall, Springer’s Ballroom, and, significantly, the Masonic Temple, now part of the Museum
campus. To round out the Portland gallery, local fashion designer Adam Arnold will contribute custom cushion designs inspired by the art.
The exhibition was initiated by the generous gift of Gary Westford to the Portland Art Museum. Major donations of poster art in 2019 and 2023 form the backbone of the exhibition, while key loans round out the visual story of the psychedelic era. Westford serves as a consultant to this project.
Whether you come to the exhibition to reminisce about your own 1960s experience or encounter these mind-blowing designs for the first time, Psychedelic Rock Posters and Fashion of the 1960s is sure to inspire.
The exhibition is curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings.
Supported in part by the Graphic Arts Council and Exhibition Series Sponsors.
RELATED PROGRAMS
Beg, Borrow, and Steal:
CRAFTING THE PSYCHEDELIC POSTER
MARY WEAVER CHAPIN, PH.D.
OCTOBER 20, 2024
How did poster artists of the 1960s capture the new generation of music, lifestyle, and design? By stealing from the past! Join curator Mary Weaver Chapin as she explores how artists crafted an utterly new visual language and identity using inventive lettering, eyepopping color, and surreal juxtapositions sourced from disparate eras and cultures. Old West memorabilia, Art Nouveau design, drug-influenced visions, and cats (yes, cats!) contribute to the psychedelic mash-ups by these pioneers of a strange and evocative style that defined an era.
Art & Conversation
DECEMBER 5, 2024
Exhibition curator Mary Weaver Chapin interviews Gary Westford, a collector, artist, and the donor of many of the posters in the exhibition. Together, they will share Gary’s journey as a collector, his relationship with the Museum, and the stories behind the posters!
Breaking Every Rule:
THE ART OF PHOTO-OFFSET LITHOGRAPHY AND PSYCHEDELIC ROCK POSTERS
VICTORIA BINDER, SENIOR CONSERVATOR/ HEAD OF PAPER CONSERVATION, J. PAUL GETTY MUSEUM
JANUARY 12, 2025
Although the San Francisco psychedelic rock posters of the 1960s are recognized the world over, few know the story and process of how they were made. In this talk, conservator Victoria Binder will share her original research on the creation of these experimental and radical creations, drawing from her extensive conversations with the artists and printers themselves. Following her introduction, we will welcome artist Bob “Raf” Schnepf to the stage for an informal conversation about process, inspiration, and design with Ms. Binder.
Sponsored by the Graphic Arts Council.
Seed to Flower:
THE GROWTH OF THE PSYCHEDELIC POSTER IN SAN FRANCISCO, 1965–71
SCOTT B. MONTGOMERY, PROFESSOR
OF ART HISTORY, UNIVERSITY OF DENVER
FEBRUARY 16, 2025
Professor Scott Montgomery will trace the origins and evolution of the psychedelic poster in San Francisco from the Acid Tests to the closing of the Fillmore Auditorium. Examining the style, influences, and imagery of posters produced within the countercultural Psychedelic Poster Movement, this talk seeks to shed light on the birth, growth, and gradual decline of this dynamic and exciting art form.
Meet the Curator and Guest
On Free First Thursdays during the exhibition, curator Mary Weaver Chapin and a special guest will be in the galleries each month to answer questions, hear your stories, and discuss the finer points of psychedelic posters and fashion. Come join us!
NOVEMBER 7, 2024, 1 – 2 P.M. with Kathleen Ash-Milby, Curator of Native American Art
DECEMBER 5, 2024, 1 – 2 P.M. with collector Gary Westford
FEBRUARY 6, 2025, 1 – 2 P.M. with artist Bob “Raphael” Schnepf
Check the website for additional dates and guests.
INTERVIEW WITH ARTIST GARY WESTFORD, COLLECTOR AND DONOR OF PSYCHEDELIC POSTERS
Psychedelic Rock Posters and Fashion of the 1960s was inspired by a major gift from artist Gary Westford, who has generously donated many of the posters in the exhibition to the Portland Art Museum’s permanent collection. Westford shared his insights about the posters’ journey from Haight-Ashbury to downtown Portland, and his own journey as an artist and collector.
How did you get into collecting poster art from the San Francisco music scene?
I grew up in the Bay Area and moved to San Francisco in 1968, to go to San Francisco State College on a wrestling scholarship. I moved to Haight-Ashbury, started attending concerts, and collecting posters. San Francisco back then was literally an epicenter for world culture.
I began to see psychedelic posters in head shops and on Haight Street and posted at various concert venues, and I was completely blown away. As a very young artist, I thought these posters were incredibly beautifully crafted and designed—way out of the box for standard ideas about making posters. They’re radical.
Meanwhile, you were also developing your own artistic practice. Were you already seeing and collecting these posters with a painter’s eye?
Initially, I was attracted to the style of lettering and also the Op Art and Pop Art sensibilities that these poster artists were using. They were headed down the same road as pop artists, grabbing images from everyday American culture: Art Nouveau women, peace doves, fortune tellers, the sinking Titanic. In addition to appreciating pure psychedelic, LSD-generated images—which are another form of radical thinking—I was very much interested in how artists like David Singer, who started to work for Bill Graham in 1969, and also Wilfried Sätty, for my money the best psychedelic artist to come out of the air in San Francisco, were using Surrealist juxtaposition.
And looking at it now, these posters really exemplify the American experience—every aspect of the American experience. It was all there. As I began to more seriously study these posters later in life, I realized that they’re emblematic of Americana—Psychedelic Americana, if you will.
And in this exhibition you won’t just see the poster art of Psychedelic Americana—we’re also showing fashion from your collection!
Yes, you’ve chosen about 20 pieces from my collection, representing the quintessential “hippie alternative” style of the era. In 1969, I got a job working at Bally Lo boutique on Union Square, and we sold young women’s psychedelic hippie clothing. More recently I connected the dots and realized that fashion is really a three-dimensional equivalent for these posters, because you’re seeing art patterns, psychedelic patterns, paisley, tie dye—all of that manifesting in the fashion of the era. And the best examples of that fashion remain exciting even today.
What do you hope people will take out of seeing this exhibition at the Museum and being able to really examine this art and fashion up close?
It was an important era. Obviously, I’m biased, I lived through it, but it was an era when I personally felt like all things were possible, we could move the culture forward. There was a freedom that manifested itself in fashion, in alternative thinking, in concern for the environment and love for the music. I’m hopeful that people would come away with a more indepth understanding about the complexities of that really astounding place and time.
Why did you decide to give your collection to the Portland Art Museum?
I’ve really appreciated the Portland Art Museum becoming a 21st century, state-of-the-art, important museum in the world. The museum has expanded its horizons so significantly, and that’s one of the many reasons why I decided to donate most of my collection to the Portland Art Museum. In 2017 I gave the de Young Museum about 120 posters for their major exhibition—that was my gift back to the city of San Francisco. I hope that in Portland, these amazing artworks will continue to inspire new generations of young artists and collectors.
TE MOANA MERIDIAN
How the Prime Meridian Shapes the World, and
the Case for Relocating It
SEPTEMBER 6, 7 & 9 AT 7 P.M.;
SEPTEMBER 8 AT 2 P.M.
Kridel Ballroom, Mark Building
Te Moana Meridian: How the Prime Meridian Shapes the World, and the Case for Relocating It is a new experimental opera based on a proposal to the United Nations General Assembly Resolution to formally relocate the international Prime Meridian to the South Pacific Ocean.
Showcasing the world premiere of the operatic performance in partnership with PICA’s TBA Festival and Boom Arts, Te Moana Meridian: How the Prime Meridian Shapes the World, and the Case for Relocating It is an invitation to question the origins of its initial placement and to consider the meaning of its relocation to its antipodean coordinates in Te Moananuiā-Kiwa/the South Pacific Ocean, marking an internationally recognized shift away from colonial structures of power and placing it in the middle of the vast ocean.
Created and directed by Sam Tam Ham (Sam Hamilton), the opera features two principal vocalists singing the written text by Sam Tam Ham of the proposal made to the UN, mirroring each other in their receptive languages: Holland Andrews in English and Mere Tokorahi Boynton in Māori. Artist sidony o’neal in minimalist movement represents the ephemeral prime meridian line, while an intergenerational choir directed by Crystal Meneses provides the overall tenor.
Te Moana Meridian takes three forms: an exhibition (2023), an opera (current), and a conference series (2022–2024). A multiphase
interdisciplinary art, research, and advocacy project, the work is based on a novel but globally consequential geopolitical policy proposal. A signature to Sam Tam Ham’s masterful works, Te Moana Meridian is a production grounded in deep meditations of our contemporary world, a serious sense of play and speculation, while offering us brighter possibilities and surreal beauty.
Sam Tam Ham (Sam Hamilton, born 1984) is an independent, working-class, interdisciplinary artist from Aotearoa (New Zealand) of Pākehā (English settler colonial) descent, based in Portland, Oregon. The Museum has previously showcased his work in a 2017 APEX exhibition and public programs. After 20 years of working independently and professionally across experimental music and sound art, moving and still image, painting, writing, performance, stage, cinema, and curatorial projects, Hamilton’s practice today operates more like an ecology than a discipline.
In addition to the September 6–8 performances of Te Moana Meridian at the Portland Art Museum, a conference will be held September 7 (11 a.m. – 2 p.m.) at PICA, and a film screening will be offered at PAM CUT’s Tomorrow Theater on September 12. Visit portlandartmuseum.org for more information and ticket links.
CONTINUING THROUGHLINES: Connections in the Collection
Continuing through spring 2025, Throughlines: Connections in the Collection embraces wonder and curiosity, bringing together artworks from across the Museum’s collections to explore the range of artistic innovation. From diverse geographies, cultures, and time periods, artists have consistently created images, objects, and experiences that ask us to consider ourselves and the world around us from different perspectives.
This exhibition provides a glimpse of the exciting growth ahead as we look forward to our campus transformation, a multi-year expansion and renovation project that will make the Museum more accessible and inclusive. While the galleries undergo these significant improvements, this collaboratively designed exhibition showcases our art collections and programs in a new light.
Accompanying the exhibition, programs and multimedia presentations offer opportunities for visitors to find joy and wonder in the artistic process. For example, an adjacent installation and video series invite visitors to learn more about the current restoration of the Claude Monet masterpiece Waterlilies, a highlight of the Museum’s Impressionist collection (see page 19). And a new installation of tactile graphics by artist Michael Cantino, Sensing Art, offers a rare opportunity for visitors to touch the art and helps make our Museum more accessible to blind and low-vision visitors.
Supported by the Museum’s Exhibition Series Sponsors.
ABOVE: Te Moana Meridian photo courtesy of Sam Hamilton; RIGHT: Throughlines installation photo by Aaron Wessling.
PAM PRESENTS JEFFREY GIBSON’S HISTORIC EXHIBITION AT THE VENICE BIENNALE
BY KATHLEEN ASH-MILBY, CURATOR OF NATIVE AMERICAN ART
Kathleen Ash-Milby, the Portland Art Museum’s Curator of Native American Art, is commissioner of the U.S. Pavilion at the 60th Venice Biennale and curator of the exhibition by Jeffrey Gibson, which the Portland Art Museum has the honor of co-presenting with SITE Santa Fe. Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, is the first Indigenous artist to represent the United States in a solo exhibition at the Biennale, while AshMilby, a member of the Navajo Nation, is the first Native American curator of a U.S. Pavilion exhibition. She shares here her perspective on the exhibition, which remains on view in Venice through November 24.
This April was a historic occasion as we celebrated Jeffrey Gibson and his exhibition, the space in which to place me, at the inauguration of the U.S. Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. Native people have had a presence in Venice as performers, visitors, and artists for as long as the Biennale has been active. For the Vernissage (preview week), we continued this
tradition with a spectacular and memorable program that reminded our audiences that Native people are now there by choice, expressing themselves through their cultural and artistic practices.
With Jeffrey, co-commissioners Abigail Winograd and Louis Grachos, and the exhibition team, we planned activities and programs that included performances and activations of the pavilion by Indigenous artists, including violinist Laura Ortman (White Mountain Apache), Portland’s own Indigenous drag clown Carla Rossi / Anthony Hudson (Confederated Tribes of Grand Ronde and Siletz), and poet Layli Long Soldier (Oglala Lakota). It was a thrill to see the forecourt sculpture activated by 29 dancers and singers from the Colorado Inter-Tribal Dancers and the Oklahoma Fancy Dancers, which you can now see on the exhibition website (jeffreygibsonvenice2024.org). It was incredibly moving to have artist and faithkeeper G. Peter Jemison (Seneca Nation of Indians) offer blessings at several events, and meaningful to
also have Chief Cyrus Ben of the Mississippi Band of Choctaw Indians speaking on behalf of Jeffrey at the press conference and attending all of our special events.
The team returned to Venice when the Institute of American Indian Arts held its Venice Indigenous Arts School in June with their lowresidency MFA students, including three public programs. The exhibition website has details about our forthcoming Convening, if I read you / what I wrote bear /in mind I wrote it, October 24–26, organized with our other educational partner, Bard College.
View vibrant exhibition photos and learn more about programs at jeffreygibsonvenice2024.org.
SAVE THE DATE
Miller Family Free Day
A CLOSING CELEBRATION FOR THE VENICE BIENNALE
NOVEMBER 24, 10–5 P.M.
MARK BUILDING
As the curtains close on this year’s Venice Biennale, we invite you to a free celebration marking the end of this landmark exhibition. Join us for a glimpse of some of the Biennale highlights and appearances by special guests. Visit the museum’s website for more information and a schedule of events.
Miller Family Free Days are generously supported by Sharon L. Miller and Family. Additional funding is provided by The Lamb Baldwin Foundation.
U.S. Pavilion Commissioner Kathleen Ash-Milby speaking at press conference, April 18, 2024. Photo by Federica Carlet; Carla Rossi / Anthony Hudson and Layli Long Soldier, U.S. Pavilion, Giardini di Biennale di Venezia, April 19, 2024. Photo by Federica Carlet.
VENICE BIENNALE EDUCATOR COHORT PROJECT BRINGS NATIVE ART INTO CLASSROOMS
BY HANA LAYSON, HEAD OF YOUTH AND EDUCATOR PROGRAMS
Contemporary Native art offers one of our most powerful tools for countering stereotypes and asserting the ongoing presence and vitality of Native peoples and cultures. However, very few resources on Native American contemporary art currently exist for educators, and many classroom teachers feel they lack the skills, knowledge, and materials to teach Native subject matter effectively.
In conjunction with the Portland Art Museum’s presentation of Jeffrey Gibson’s historic exhibition at the 60th Venice Biennale (see facing page), the work of the Venice Biennale Educator Cohort will complement Oregon’s new Tribal History/Shared History curriculum— contributing to educators’ knowledge and confidence with Native subjects and presenting Oregon tribal artists within a national and global Indigenous art context.
The goals of the K-12 Educator Cohort program are to make the exhibition—the space in which to place me—accessible to students
and educators everywhere and to transform how Native art is understood and taught in K-12 classrooms in Oregon, New Mexico, and around the country.
The project is led by Learning and Community Partnerships staff at PAM and SITE Santa Fe, in close collaboration with the artist and curators. It is one of the education program areas to directly reach K-12 students that are part of Jeffrey Gibson’s Venice Biennale exhibition— an indicator of his great ambitions for what art can do and his deep commitment to making a difference in the lives of young people, especially Indigenous and queer youth.
The cohort includes 10 educators, five from New Mexico and five from Oregon, all with expertise and experience in teaching Native arts and cultures. They represent a range of teaching experiences, from Native American Student Services in Santa Fe Public Schools and NAYA Many Nations Academy in Portland to public schools such as McDaniel High
School in Portland and Corvallis High School. From April 2024 through June 2025, cohort members will learn about Gibson’s work and develop curriculum resources and workshops to present to educators in Oregon, New Mexico, and beyond.
PAM and SITE Santa Fe are also partnering with the Smithsonian’s National Museum of the American Indian (NMAI), providing a national platform for the cohort’s work. Cohort members will collaborate with NMAI staff to develop a robust, free digital resource on Gibson’s art, presented on NMAI’s Native Knowledge 360 website.
Together, these efforts will deepen how educators in Oregon and beyond teach about Native art and culture, making a powerful difference in students’ lives. As NAYA cultural arts teacher Renea Menchaca told Gibson, “I see my students in this exhibition—in the flags, in the colors, in advocating for all genders.” And it feels like we are just at the beginning.
LEFT TO RIGHT Stephanie Parrish, Hana Layson, Renea Menchaca, Leanna McClure, Jeffrey Gibson, Margarita Paz-Pedro, Julia Blue Arm, Erin Grant, Mvhayv, Matthew Contos in Gibson’s Venice Biennale exhibition. Photo by Francesca Bottazzin.
LEARNING GUIDES OFFER
INTERACTIVE GALLERY EXPERIENCES TO STUDENTS
BY HANA LAYSON, HEAD OF YOUTH AND EDUCATOR PROGRAMS
This fall, we are thrilled to start the second year of the Learning Guide paid college internship program. Learning Guides are students at local universities, including Lewis and Clark College, Portland Community College, and Portland State University. They facilitate K-12 group visits at PAM, welcoming students and teachers to the Museum and leading them into the galleries for interactive, inquiry-based experiences. During these visits, students spend time looking closely at the artwork and sharing their questions and observations in pairs and small groups. They might also explore color and texture with fabric swatches. Or they might draw a self-portrait or a portrait of a classmate.
The experiences center student perspectives and interests. As a teacher observed, “It is so powerful to see kindergarteners relaxed around the museum floor confidently sketching art!!!”
The new paid college guide program was developed in response to changes in education and feedback from educators. Teachers tell us that they value the overall learning experience and skill development the Museum provides, more than the delivery of specific art history content. They emphasize how important it is for a diverse student population to see itself reflected both in the artwork on view and in the staff who shape their experiences at the
Museum. Learning Guides provide meaningful role models for K-12 students, embodying connections to higher education and fostering a sense of belonging in the Museum. Teachers describe the Learning Guides as “phenomenal” and “amazing,” “so knowledgeable and experienced.” “The guides were so good at following the lead of the students.” They “met students where they were at.”
In addition to the benefits for K-12 students, the program allows the Museum to better serve college students by creating paid opportunities for them to get real-world museum experience, develop facilitation and leadership skills, and deepen their knowledge of arts and education. “I appreciate the community [the program] has created for me,” Learning Guide Lucia Catano shares. “I have been able to meet people outside of my college bubble! I also think that this position has helped me reevaluate career options. I love how much we are exposed to different careers and events. It is also valuable that I get to work with youth and have them engage with art in a non-traditional way.”
For Orion Whitcher, “The whole process of guiding these groups has shaped my own interpretations of each artist and artwork, and has illuminated for me the importance of art in education.”
We are grateful to all the teachers who bring their students to PAM, and we’re excited to welcome the Learning Guides—some returning, some new—for a second year!
TOP: Learning Guides Orion Whitcher, Alina Cruz, Lucia Catano, Forest SvendgardLang, and Sofia Anderson. BOTTOM: Alina Cruz with students from Sunnyside Environmental School.
RESTORING A BELOVED MASTERPIECE
While construction on the campus transformation project is underway, the majority of the Museum’s collection is packed safely away in storage, with the exception of works that are featured in Throughlines: Connections in the Collection. However, one of the Museum’s most cherished paintings is getting a long-awaited conservation treatment. Claude Monet’s Waterlilies (1914–15) is the cornerstone of the Museum’s strong Impressionist collection and has been loved by visitors for decades. Thanks to a generous grant from the Bank of America Art Conservation Project, not only will this iconic painting be restored, the community can follow along in a series of videos and programs with Charlotte Ameringer, Portland Art Museum Conservator.
The conservation focuses on removing a non-original synthetic varnish with the goal of returning the painting more closely to Monet’s intended appearance. The varnish, applied
in c. 1959, saturates the paint layers, causing the colors (esp. the blues) to appear darker and more intense. It also imparts a uniform gloss to the surface. As a result, Monet’s soft, subtle colors, his variations of texture and luminosity, and his intentional emphasis on the painting’s surface are profoundly altered. The conservation takes place in the Museum’s new, remodeled conservation studio, part of the campus transformation now underway.
Everyone is invited to follow along and learn more about the conservation process on PAM’s website, in a “pop up” gallery, and on social media channels. “It has been wonderful to publicly share an important and critical aspect of museum work that is typically kept behind the scenes,” said Ameringer.
One of over 250 paintings of waterlilies (nymphéas in French) that Monet painted in his garden in Giverny, France, over the course of nearly three decades until his death in 1926, the
Portland Art Museum’s Waterlilies (1914–15) is regarded as a particularly superb interpretation. The artist’s son Michel Monet selected it for the dining room at Giverny, where it hung for over 35 years. The Museum purchased Waterlilies in 1959, a major acquisition made possible by the proceeds of a highly successful Vincent Van Gogh exhibition at PAM the year before.
The restoration and related programs are supported by a generous grant from the Bank of America Art Conservation Project. Waterlilies is one of 24 globally significant artworks to receive conservation funding support from the Bank of America Art Conservation Project.
ABOVE: Claude Monet (French, 1840-1926), Waterlilies, 1914-1915, oil on canvas,
1/4 in x
1/8 in, Museum Purchase: Helen Thurston Ayer Fund, 59.16.
IN MEMORIAM
Joanne Lilley
The Museum mourns the death of longtime supporter Joanne Lilley. She will be remembered for her exceptional philanthropy and friendship.
Joanne’s impact will be felt for generations to come. She was a Museum member for 34 years and served on the Board of Trustees from 2002 to 2008. Joanne generously supported exhibitions ranging from Rembrandt and the Golden Age to Italian Style to Treasures of Ancient Egypt and also gave significant gifts to the North Building expansion project and the current campus transformation project. Joanne was a visionary and often the first to support a project, such as Allure of the Automobile in 2011, which provided the impetus for other donors to contribute. She was part of a family that has been active in many areas of the Museum. Her sister, Prudence Miller, gifted the iconic Roy Lichtenstein Brushstokes sculpture, and her daughter Elizabeth Lilley served on the Board of Trustees.
“Joanne
will be greatly missed. Her generosity and belief in the arts and the Museum as a place for connection, gathering, and learning was a gift to Portland,” said Director Brian Ferriso.
EXPANDING ACCESSIBILITY, MUSEUM OFFERS ENCHROMA GLASSES FOR COLOR BLIND VISITORS
Portland Art Museum is the first museum in Oregon to offer EnChroma glasses for visitors who are color blind. As part of PAM’s commitment to accessibility, five pairs of
glasses, which increase color perception for youth and adults with red-green colorblindness, are now available to check out for free through the EnChroma Color Accessibility Program.
The styles and frame sizes vary and include pairs that are adapted to fit over prescription glasses.
Accessibility is one of Portland Art Museum’s core values. In addition to EnChroma glasses and Sensing Art—a current exhibit of four tactile graphic representations of objects in our permanent collection for blind and low vision visitors—PAM offers a variety of assistive technology and accessibility services to ensure all visitors can enjoy engaging with art and each other. Learn more at portlandartmuseum. org/accessibility or contact our Head of Accessibility, Becky Emmert, at access@pam. org or by leaving a voicemail at 503-276-4284. Deaf visitors can leave messages directly in ASL on our videophone at 503-420-3169.
TOP: Joanne Lilley and PAM Director Brian Ferriso at the opening of Italian Style in 2015. BOTTOM: Alina Cruz, a color blind art history student and PAM Learning Guide (see page 19), viewing Ed Paschke’
On June 21, the Portland Art Museum’s film and new media center, PAM CUT // Center for an Untold Tomorrow, held our fifth annual Cinema Unbound Awards. This year’s ceremony honored Mickalene Thomas, an award-winning multidisciplinary artist known for her elaborate portraits of Black women; Sterlin Harjo, best known for his work as the co-creator and showrunner of Reservation Dogs; Irene Taylor, an Oscar-nominated, award-winning filmmaker who recently debuted I AM: Celine Dion; and James Beard Award-nominated chef/entrepreneurs Peter Cho and Sun Young Park of award-winning restaurant Han Oak. Comedian, actor, writer, and philanthropist Ron Funches hosted the festivities. Presenters included international superstar Celine Dion, actors Ethan Hawke and Wes Studi, and cultural creatives Kimberly Drew and John & Janet Jay
Honoring artistic innovators working at the intersection of art and cinematic storytelling, the annual Cinema Unbound Awards celebrate multidisciplinary artists who push the boundaries of what’s possible in media arts.
Connections to Portland
Each of the honorees has ties to the city— bringing Portland to the world and the world to Portland. They spoke about their connections in their speeches.
Sun Young Park spoke about the immersive storytelling element of her culinary work with Peter Cho at their family’s restaurants. “It really
is like a cinema—it’s like a movie every single night,” she said. “It takes people off of their screens and pulls you off of the algorithm, and it puts you at a table amongst other people from varied lives and backgrounds and ages, and it gathers people physically to our seat, and to enjoy Peter’s menu.”
Mickalene Thomas began her speech by acknowledging her deep personal connection to the Portland Art Museum and thanked Director Brian Ferriso for being the first museum to support her film and video through acquisition. After sharing a pivotal moment she had at the Museum in 1994 with Portland-born artist Carrie Mae Weems’ work—the moment she knew she wanted to be an artist—Thomas said, “To me, Cinema Unbound represents both unfettered and freedom to create, challenge and tell stories that are relevant, disruptive, political, desirable, diverse, and impactful…. But receiving this award acknowledges my own journey and my path—from the moment that I stepped into the Portland Art Museum in 1994.”
Irene Taylor echoed Thomas’ appreciation. “You know, we’ve already had a theme tonight of just
how this museum is really honoring people who want to push the boundaries of maybe their own comfort level,” she said. “In the case of my films, that has just been to really push people to share with me and open up with me about their experiences, but also just forget I’m there…. And if we can just be ourselves and share that with the world, I think, we can develop and cultivate compassion for one another.”
In accepting his award, honoree Sterlin Harjo, who lived in Portland as a young man, closed by saying, “Portland was a magical place to me that always reminded me of what home was, and that’s why I went back. I’m so grateful for this award. There are many years where people didn’t understand what I was doing, so to be congratulated for my work, in a city that I love, means everything to me.”
Proceeds from the Cinema Unbound Awards benefit PAM CUT’s year-round youth programs, artist services, Tomorrow Theater, and special media arts exhibitions at the Museum—directly supporting the programs that embrace artistic exploration and contribute to a more vibrant, accessible, and diverse media-arts ecosystem.
For more information about PAM CUT programs, visit portlandartmuseum.org/pam-cut.
Major support for the Cinema Unbound Awards provided by Lisa Domenico Brooke, LAIKA, SkyLight Collective; Wieden+Kennedy, Mary & Don Blair, KeyBank, Jordan Schnitzer Family Foundation, Pat & Trudy Ritz, and Anish Savjani.
LEFT: Cinema Unbound Awards honorees Peter Cho and Sun Young Park; TOP CENTER: Honoree Mickalene Thomas; BOTTOM CENTER: Honoree Irene Taylor and her mother, Sally Taylor; RIGHT: Honoree Sterlin Harjo; Photos by Mario Gallucci.
PAM CUT’S CO:LABORATORY OFFERS
ART-MAKING AND STORYTELLING FOR YOUTH, FAMILIES, AND ADULTS
PAM CUT’s Co:Laboratory had an amazing summer, with 16 camp programs for youth ages 8 to 10 and 11 to 14. Campers explored all the ways that design can influence fashion, footwear, animation, and gaming, and built important skills learning to collaborate, solve problems, and tell their stories in creative ways. Sheila, mom to camper DJ Danger, said, “The camp is run more like an artist-in-residence, with structured, meaningful learning coupled with lots of room for artistic exploration and self-expression! My child felt seen, had fun, expressed themselves, and learned something new! We will definitely be back next year! Thank you PAM CUT! My kiddo absolutely loved it, and so did I!”
Our youth animators from the workshop Ready, Set, Animate screened their animated short Purrlin’s Adventure, created for “Music for an Imaginary Cartoon” at the Schnitzer Auditorium in June. Our collaboration with the Metropolitan Youth Symphony and Fear No Music’s Young Composers project will continue in September. This year, a cohort of middle school animators from our Youth Art
Unbound program will work with teaching artist Andrés Eduardo to brainstorm characters, build storyboards, and translate action into a stop motion animation short. Students from the Young Composers Project will score the cartoon, and the Metro Youth Symphony will play the music as part of the screening on March 2 at the Newmark Theater.
Get ready for some intergenerational WonderLab fun in our October 12 workshop Monster Mash-up: Craft & Narrate Creepy Creatures with teaching artist Fry. We’ll continue the festivities on December 7 with our holiday decoration extravaganza Jingle, Jangle, Joy: A Family Crafting Experience, inspired by the magic of Pee-wee’s Playhouse.
We’re excited to continue the art making fun for our adult audiences. We’ll explore a range of topics to get creativity flowing in our UnStuck program, including Augmented Realityactivated postcards, Virtual Reality and 360° filmmaking, and building the perfect mix tape DJ set.
Check out portlandartmuseum.org/colaboratory for more awesome Co:Lab programs designed to provoke creativity, inspire connection, and expand the possibilities of new media art storytelling!
TOMORROW FOREVER!
The Tomorrow Theater on Portland’s east side turns 1 this November! We’ll be celebrating with our classic over-the-top programming, Carte Blanche events, and pop-up art shows. Since our inception, we’ve served over 30,000 audience members, and have showcased hundreds of artists and filmmakers’ work, spanning mediums including live music, film, puppets, group crafting, acrobatics, interactive smartphone games, standup comedy, and more.
This summer, we hosted legendary filmmaker Penelope Spheeris as part of our Carte Blanche series, and screened her never-released, rarely shown film We Sold Our Souls for Rock ‘n Roll, which documents the 1999 Ozzfest. And camp was in session at the Tomorrow, with summer camp–themed screenings, including the films Moonrise Kingdom, Wet Hot American Summer, and Friday the 13th III.
We’ve expanded our bingo GAME-O-RAMAs, which now happen monthly, and include customized bingo cards and prizes for each film. Some of our favorite bingo films include: Party Girl, Death Becomes Her, and The Devil Wears Prada. We’ve also expanded our Northwestern artists series, called OMGNW!, and are now hosting bi-monthly showcases. To kick off the series, local ceramicist Cynthia Lahti, whose artwork is featured in Kelly Reichart’s most recent film Showing Up, gave a moderated Q&A after the film. Some OMGNW! events this summer included the filmed-in-Astoria feature Sometimes I Think About Dying, Dead Media Hour with Stephen Slappe, That Happened with Do Jump, and a local animation showcase.
Your membership includes PAM CUT benefits, including discounted Tomorrow Theater programming. Please see page 27 for more details. Make sure you don’t miss a minute of fall and winter screenings & happenings by checking tomorrowtheater.org for all the latest PAM CUT screenings & experiences. Tickets are on sale now!
“It’s part Pee Wee’s Playhouse with splashes of Vivienne Westwood and CBGB — and thoroughly Portland. Programming within can be characterized as ‘cinema unbound,’ achieved through a mix of artistdriven screenings, performances and discussions. A flexible place and space where art forms and multi-interest audiences collide with local and global artists across many disciplines including poetry and spoken word, music, performance, dance, culinary arts and more to create a unique experience each night.”
—The Hollywood Reporter
MEMBERS & PATRONS
JUST FOR MEMBERS
Don’t miss out on member events, benefits and more!
Learn about new exhibitions, last-minute ticket offers, member events, pop-up programs, film screenings, artist and curator talks, and more–all of which are available at free or reduced cost to members! The best way to keep up-to-date on new events and member opportunities is by reading our regular Member Highlights emails.
To update your email address with us, call Membership at 503-276-4249 or email membership@pam.org.
132nd Annual Members Meeting
OCTOBER 16, 2024
5 P.M.– 8 P.M.
Save the date for our annual members meeting! Members will hear from curators, trustees, and special guest speakers, elect new trustees, get updates about upcoming exhibitions, and learn about our progress as we renovate, expand, and transform our Museum. We have some exciting things to look forward to in the year ahead, so be sure to join us to learn more!
Meeting is held in-person. Advance reservation required. Watch your email inbox for more details.
5 p.m. — Guest Arrival and Light Reception Maybelle Clark Macdonald Grand Foyer
5:45 p.m.— Official Meeting Begins Kridel Grand Ballroom
6:45 – 8 p.m. — Open house, self-guided tours of construction progress points of interest throughout the Museum Campus
Fall Members Night
NOVEMBER 14, 2024
5 – 8 P.M.
You’re invited to a special members night at the Museum in celebration of our fall exhibitions!
Come mingle with other members, meet artists and curators, engage in fun activities, and learn more about Throughlines, Psychedelic Rock Posters and Fashion of the 1960s, and Paul McCartney Photographs 1963–64: Eyes of the Storm.
Advance reservations are required. Invitations will be sent by email, so watch your inbox for more details to come!
Member Coffee with a Curator Series
Learn about our newest exhibitions and collections in these special members-only talks. Come hear from curators and staff, ask your questions, and visit the galleries!
UPCOMING EVENTS:
OCTOBER 13, 11 A.M.
Julia Dolan, Ph.D., Minor White Senior Curator of Photography, on Paul McCartney Photographs 1963–64: Eyes of the Storm
FEBRUARY 9, 11. A.M.
Mary Weaver Chapin, Ph.D., Curator of Prints & Drawings, on Psychedelic Rock Posters and Fashion of the 1960s
MARCH 9, 11A.M.
Behind the Scenes—Exploring the Work of the Collections Team
APRIL 6, 11 A.M.
Coffee with a Conservator—Restoring Monet’s Waterlilies with Conservator Charlotte Ameringer
JUNE 8, 11 A.M.
Coffee with the Curators: Museum Makeover—Reimagining the Galleries
Members Holiday Sale
ALL MONTH LONG!
DECEMBER 1–31
In-person only at our Museum Store
Our popular annual holiday sale is back, and it’s happening all December long! Members can save an additional 10% (20% total!) in our Museum Store.
Onsite only; discount not available for online sales. Details will be communicated by email, so watch your inbox for more info coming soon.
Did You Know?
Your Portland Art Museum membership also includes PAM CUT and Tomorrow Theater programming!
What kind of benefits do I get?
Members receive special discounts on the wide variety of multimedia programming at the new Tomorrow Theater, as well as other innovative PAM CUT programming, including Co:Laboratory camps and classes.
What’s the Tomorrow Theater?
The Tomorrow Theater is our 250-seat theater space devoted to cinema, art, and multimedia storytelling. With special curation by guest artists, partners, and creatives, every night at the theater will bring something different: from film, dance, and comedy, to music, XR, performance, and more. When audiences walk into the theater, they will never quite know what Tomorrow brings!
How do I access these benefits?
Make sure we have your current email address on file and watch your inbox for information on discount codes and limited-time special opportunities for members, including free ticket offers, event presales, and more.
New member events at the Tomorrow Theater are in the works! Stay tuned for more information coming soon.
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 exhibition visit. Please note that member tickets are limited to the individual(s) listed on your membership cards.
Annual Automatic Renewal and Monthly Installment Plans Available
Prefer to pay monthly or have your membership renewed automatically? Our monthly installment and automatic renewal options are available to make joining or renewing easier than ever. Call us at 503-276-4249 to sign up to have your membership renewed automatically, or set up payments in installments of as low as $13.33 a month.
We’ve gone digital!
We have taken the next step in going green by providing new digital membership cards!
This means that the next time you renew your membership, you will receive an email with instructions on how to download your new digital card to present at admission.
If you still have plastic card(s) and would like to hang on to them, or if you haven’t renewed and received your digital cards yet—don’t worry! Your plastic card or valid photo ID will also still work at the box office for check-in. Otherwise, look out for an email containing your new digital card within a week of the next time you renew your membership.
If you have any questions, reach us by email at membership@pam.org or call 503-276-4249.
MEMBER SERVICES
Need to update your contact info or have questions about your membership status? We are here to help! HOURS: Monday – Friday, 9 a.m. – 5 p.m. PHONE: 503-276-4249 EMAIL: membership@pam.org FAQS: portlandartmuseum.org/faqs
PATRON SOCIETY
Experience a deeper connection to the Museum—and each other—through a yearround program of insider access, events, travel opportunities, and more!
Patrons are among the Museum’s most generous annual donors and experience a shared connection to our institution enhanced by a host of offerings that bring art into daily life.
Join the Patron Society and enjoy benefits that deepen your involvement with your Museum:
• A guided tour of current exhibitions
• Exclusive behind-the-scenes access to events, exhibition previews, and programs, including special screenings and opportunities at the Tomorrow Theater
• Local, national, and international art-focused travel opportunities with fellow Patrons
EASY WAYS TO JOIN OR UPGRADE TO A PATRON:
ONLINE: pam.to/patron
PHONE: Call 503-276-4298 to join or upgrade!
Through monthly payments starting at $166 a month. Monthly payments ensure your membership is always current, so you never have to worry about renewing!
For more information about the Patron Society, please contact Megan Tomson, at megan. tomson@pam.org or 503-276-4298
Through special programs and enhanced access, Patrons get a behind-the-scenes perspective of how their annual support helps the Museum thrive and evolve. We cannot wait to welcome you as a Patron and look forward to seeing you in the galleries.
ENGAGEMENT OPPORTUNITIES
Enjoy Exclusive Patron Viewing Hours
Paul McCartney Photographs 1963-64: Eyes of the Storm
SEPTEMBER 13, 2024
3 – 6 P.M.
Please join us for special Patron viewing hours of the highly anticipated exhibition Paul McCartney Photographs 1963-64: Eyes of the Storm. Organized by the National Portrait Gallery in London, the exhibition will reveal more than 250 extraordinary photographs taken by the beloved musical icon.
Psychedelic Rock Posters and Fashion of the 1960s
OCTOBER 19, 2024
We are excited to welcome you for an exclusive viewing of Psychedelic Rock Posters and Fashion of the 1960s! The exhibition reveals the passion and creativity of the era through the iconic rock posters of San Francisco and beyond. More information coming soon!
NOVEMBER 21, 2024
To show our appreciation for your continued commitment, you are invited to our Patron 1960s Soirée! Join us for an unforgettable evening of celebration, light refreshments, and the opportunity to meet fellow Patrons and community members. A formal invitation is coming soon!
RIGHT: Wes Wilson (American, 1937-2020), Otis Rush and His Chicago Blues Band, Grateful Dead, Canned Heat Blues Band,
24-26, Fillmore Auditorium, 1967,
GIFTS & GRATITUDE
THANK YOU
We gratefully acknowledge the members and supporters who make our mission possible.
All gifts above $250 received December 1, 2023 - May 31, 2024 *deceased
A&L Berg Foundation
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Representative Janelle Bynum
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Sprague Foundation
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Ed Cauduro Fund of Oregon
Community Foundation
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Alice S. Chan
Sarah and Ernest Chaplen
Deborah Chessar
Valri and Vincent Chiappetta
Lisa Chickadonz and Chris Tanner
Marc Chinard and Philippa Kaplan
Frank and Becky Chinn
Mary Chomenko Hinckley and Gregory K. Hinckley
Wilma and Dean Chu
Chubb Insurance
Joan Cirillo and Roger Cooke
Rona Citrin
Conrad Clark
Marci Clark and James Bartroff
Mark Clark
Mike and Tracey Clark
Robert Clark
Clark Foundation
William and Karla Cloran
Thomas K. Coan
Shirley and Kerris Cockrell
Aaron Cohen
Ms. Jean McGuire Coleman
Joanne and Roswell Coles
Mitch and Alicia Collier
Sheridan and Richard Collins
The Collins Foundation
Randall Collis and Alicia Brewer
Barton and Emma Colson
Kate Commerford
Jeffrey G. Condit
Kelly Connor
Heather Cook and Amy Gebhardt
James Cooke
Judy Cooke
Ginnie Cooper and Rick Bauman
Kimberly Cooper and Jon Jaqua
Kathleen and Paul Cosgrove
Fotene and Tom Cote
Byron Courts
Cathy and Oscar Couto
Ré Craig
William C. Crane
John Crawford and Jody Stahancyk
Marian Creamer
Creative Capital Foundation
Caroline Cronson
Crystal Bridges Museum of American Art
Clifford Curry and H. Delight Stone
Betty Curtis and Deborah Thomas
Joan and Kelly Cushing
Linda M. Czopek
D.A. Davidson & Co.
Amy Dachtler and Jason Crotty
Jay Dahlke
Maria Dangles and Sean Silverstein
Jill and Antonio Daniels
Marcia Darm and Bruce Berning
Joseph and Carol Davids
Lisa J. Davidson
Chris and Julie Davie
Cameron and Dick Davis
Ken Davis and Louise Rosen
George and Kathryn Dawson
Elizabeth and Kirk Day
Kathleen de Montlebert
Jennifer Deale and Chris Spicer
Christelle and Jon deAsis
George and Barbara Dechet
MaryAnn E. Deffenbaugh
Guillermo del Toro
Barbara Delano and John Wyckoff
Mark Denton and Joseph Sun
Austin DeSimone
Daniel Deutsch
Michael and Elizabeth Devine
DeVos Institute of Arts
Management
Kate Di Salle and Clark Haass
Johanna Dichand
Kate and David Dickson
Aloysius Didier and Sherry Holley
Dior
Ray and Tina Dippert
Marcia J. Director
Allen L. Dobbins
Kirk Dobbins and Herbert Kitchen
Rebecca Dobosh
Charles Dobson and Donna Schultz
Ronald and Linne Dodge
Laura Donnelley
Dorothy Lemelson Foundation
Michael and Susan Dottarar
Gile and Melinda Downes
Theo and Nancy Downes-Le Guin
Michaela Downs and William Coleman
Cooper Dubois and Sanda Stein
Laura Dubois and Jill Dornan
Nancy Duhnkrack
Lynn Dunn and Paul Molnar
Michael Dunn and Cynthia Smith
Gail Durham and E. Benno Philippson
Dutch Culture
Richard and Betty Duvall
Sunshine Dwojak and Andrew Kroeker
Marianne Dwyer and Laurence Baker
Sylvi Dzegede
Karen and Bill Early Fund of the Oregon Community Foundation
East West Bank
Michael and Lois Eaton
Barry A. Edwards
Dana Eggerts
Elizabeth Leach Gallery
Amy and Steve Ellis
David V. Ellis
Brandon Elrod
Embodee
Penny Emerson
James Kahan and Kathia Emery
Caryl Englander and Dominique Levy
David Entrikin and Niloofar Khiabani
Estate of W.H. Nunn*
Adam and Jessica Farley
Samuel Farmer and
Stephanie Holmes-Farmer
Tom Fawkes
Daniel L. Feiner
Edward and Gloria Feinstein
David and Beth Ferguson
Brian Ferriso and Amy Pellegrin
Gwendolyn and Drew Field
Sheila Finch-Tepper
Lana and Chris Finley
Ryan and Mary Finley
Emmett and Mary Finneran
Barbara Fishleder and John Wolfe
Susan and Greg FitzGerald
James FitzGerald and Karen Howe
Eileen and Eva Fitzsimons
Kerry Flatt and Amanda Brooks
Myron and Pat Fleck
The Fleischner Family
Charitable Foundation
Katherine and Greg Flenniken
Theresa and Storm Floten
Ann Flowerree / Flowerree Foundation
Phyllis Flowers and Sylvia Martin
Flynn BEC LP
Therese Fogarty and Bridget Beaudet
Andrew and Aubrey Fogg
Ford Foundation
Carol Foreman-Rudisell
Katherine and Mark Frandsen
Judi Free and Paul Hamborg
Bob and Cass Freedland
Karen French and Robin Chitwood
Sandra L. Friberg
Stephen Friedman Gallery
Thomas Frith
Charles Froelick
Lawrence Furnstahl and Charles Sitzes
Don Gagne
Morris J. Galen
Kara Gandesbery
Andrea Gara
Nicholas Garaufis and Elizabeth Seidman
Karen Garcia
Robert and Melissa Garlinghouse
John and Pauline Garney
Jill and Tony Garvey
Paul Gehlar
Roger Genser
Katherine and James Gentry
The George Economou Collection
Diane Getsiv
Sally C. Gibson
Nick Gideonse and Julie Flindt
Barbara Giesy
Barbara Gilbert and Miles Newmark
John and Emma Gilleland
Kit Gillem and Sarah Hennessey
William Gilliland
Delsie Gilpin and Sally Ridenour
Amy Glad
Myra Glasser and Richard Keough
Richard and Karen Gleason
Stuart and Alise Goforth
Paul* and Mimi Goldman
Ian Goldsmith and Crystal Reynolds
Harold Goldstein and
Carol Streeter
Janet Gonzales
Alix and Tom Goodman
Mark and Christi Goodman
Deborah Goodrich
Regan Goodrich
John Goodwin and
Michael-Jay Robinson
Christopher and Maria Gordon
Jane and Ron Graybeal
Douglas and Katherine Green
Leona and Patrick Green
Linda S. Green
Marcia Green
Pamela Greene and Hans Kretschmer
Mark Greenfield and Jane Hartline
James and Natalie Greenleaf
Paul Greenlee and Catherine Morton Greenlee
Jill Grenda
Marc and Pam Grignon
Andrew Grim
Bonnie and Ryan Grimm
Shir and Laurence Grisanti
Marjorie E. Grootendorst
Cheryl Gude
Penny Guest and Thad McGlinn
Agnes Gund
Dennis Haden and Sharon Nobbe
Dorothy and Robert Haley
Cara and Mike Hallock
Susan and Mark Hamerlynck
Earl Hamilton
Edward Hamilton
Linda Hamilton
Christine Hamm
Maggie and Moira Hampson
Hampton Family Foundation of
Oregon Community Foundation
Melanie and Elizabeth Hampton
Chloe and Leo Han
Susan Hancock
Irvin and Gail Handelman
Thaddeus and Amy Hanscom
Michael Hansen and Scott Osburne
Janet and Joe Hanus
Tom Harbison and Jill Flora
John and Wendy Hardman
The Harold & Arlene Schnitzer
CARE Foundation
Linda Harris and Martin Vanderlaan
Bob and Janis Harrison
Stewart and Lynda Harvey
Donald B. Haslett
Elizabeth and William Hathaway
Erroyl Hawley
The Hearthland Foundation
JJ Heldmann
James and Judith Heltzel
Hennebery Eddy Architects, Inc.
Henry Luce Foundation
Linda Hering
Frances Herrall
Diane M. Herrmann
Elizabeth Herrmann and Elizabeth Cavanaugh
Bob and Holly Hestand
Lane and Xiomara Hickey
Krista Hildebrand and John Marshall
Marna and Rick Hill
Travers and Vasek Polak
Veronica and Jim Hiller
David Hilts
Shinji and Yuki Hioki
Janet Hively and Thomas Lacy
Heather Hoell
Kerri and Josh Hoffman
Shane Hoffman
Sandra and Steven Hohf
Amy and Matt Holley
John Holloran and Richard Rees
Judith A. Holmboe
Renee R. Holzman
Ann S. Holznagel
Penelope and Lee Hoodenpyle
Steve Hooper
John and Susan Hoover
Samuel Hopkins and Suzanne Chi
Ellen Hopper
Patricia Horan
Al Horn and Nancy Goodwin
Mark Horney and Sharon Reed
Dr. Larry Hornick
David and Pamela Hornik
Bruce Hostetler and Suzanne Fisher
Vivian Hou and Lis Grinspoon
Charlotte Howard
William J. Huebner
Mark Huey and Wayne Wiegand
Eric Huffman and Heather Mewborn
Kendra Hume and Patty Vogel
Nancy Hungerford
Christopher Huong and Jennifer Phung
John Hurley
W.S. and Karen Hurst
Joshua and Kerstin Husbands
Linda Hutchins and John Montague
William and Barbara Hutchison
Linda Illig and Glenn Dahl
Aresh Irajpanah
Lauren Isaac
The Jackson Foundation
Cindy and Molly Jacobs
Diane D. Jacobsen
David Jacobson and Karen Hsu
Judy Jacobson
Amelia and Brent Jaffe
The James F. and Marion L. Miller Foundation
James Howell Foundation
Ron Janson and Suzanne Klassen
Jude Jeannis
Mackenzie Jeans
Joanne Jene, M D. and Nancy Rangila
Douglas Jenkins and Michael Boyles
Linda and Richard Jenkins
Ed and Marilyn Jensen
Tom Jensen and Heidi Balmaceda
Rita M. Jimenez
Karen and Luther Johansen
Lory and Mats Johansson
John D. and Catherine T. MacArthur Foundation
David and Anne Marie Johnson
Kara Johnson and Larry Halkinrude
Kate Johnson and Clinton MacKenzie
Mrs. Salena Johnson
Roy D. Johnson
Steven and Kathy Johnson
Susan G. Johnson
The Johnson Family Foundation
Gillian Johnston
Jessie Jonas
Lynne Jonasson
Alan and Sharon Jones
Kyle Jones
Marilyn Jones
Molly F. Jones
Patricia B. Jones
William Jordan and Martha Schechtel
Mr. and Mrs. Frederick D. Jubitz
Cheryl Juetten and Caleb Winter
Caroline and Aaron Kahn
Philip Kalberer
Peter and Patricia Kane
Kay and Michael Kaplan
Sanjiv and Cindy Kaul
Nicole and Steve Kay
Katherine and Gordon Keane
Susan D. Keil
Judy Carlson Kelley
Douglas Kelso
Maisy Kelyman
Ann Kendellen and Jonathan Harker
Kristen and Michael Kern
Mary Kern
Julie Kern Smith and Arvie Smith
Neil Kerr and Meghan McCullers
David Kerr Platt and Lisa Berkson Platt
Selby and Douglas Key
Kathy and Peter Keyes
Anu Khaira
Heather Killough
Barbara and James Kimberley
Anna K. Kimbrell
Noel Kimon
Kimberly King
Mary King and Clifford Lehman
MaryBeth Kinney
Michael Klein
Nick Klein
Valerie Klein and Don Kates
Elysabeth Kleinhans
April Knapp
Morley and James Knoll
Megumi Kobayashi and Richard Mamolen
Brooks Koenig
Molly D. Kohnstamm
Katherine Koontz and Peter Belfanti
Oren Kosansky and Julie Hastings
Brian and Jayni Kosoff
Carl and Patricia Kostol
Cheryl and Chick Kozloff
Michael Kronstadt and Joji Yoshimura
Erich Kuerschner
Kristi Kvistad
Barbara LaCombe
Thomas Lacy
The Lamb-Baldwin Foundation
Elise and James Lamberson
Brett and Sudha Landman
Lane Powell PC
Helena and Milt Lankton
Donna L. Larson
Douglas Larson and Sarah Ryan
Bonnie Laun
Melissa and Israel Laureles
Anne Lavallee and Thomas Schroyer
Terry and Barbara Lawson
Ellen Leatham and Ken Reid
Elaine and Brent Leback
Kirsten Lee and Joseph Sawicki
Martha Lee
Miyoung Lee and Neil Simpkin
Legacy Health System
Caroline Leguin
Ann Marie and Katie Lei
Gregory F. Leiher
Nancy Lematta
Linda and John Lenyo
Dr. Dolores Leon
Mimi Lettunich and Kris Wigger
Matthew Letzelter
Zoe Levine
Simone Levinson
Holly Levow
Richard Levy
David Lewis and Karen Mitzner
Juanita and Marneet Lewis
Larry Lewis and Kelly Post-Lewis
Lorraine Libert
Warren Lichtenstein
Nolan Lienhart and Grace Moen
Ross M. Lienhart and Janeese Jackson
David and Nadja Lilly
Anne Lince
John and Patty Linde
Wayne Litzenberger and Jane Patterson
Barbara Lloyd
Joyce Loeb
Kent Logan
Herbert and Elizabeth Lopez-Aguado
Louis and Virginia Clemente Foundation
Dennis and Linda Loveland
Dr. Richard and Diane Lowensohn
Dennis Lundahl
Ken and Trina Lundgren
Laurie Lundy-Ekman and Andrew Ekman
Theresa and Robert Lusardi
Karen Lyman and Michael Viera
Peter and Susie Lynn
Judy W. Lyons
Kyra M. MacIlveen
Don MacLane and Lorah Sebastian
Frank G. MacMurray
Gregory MacNaughton and Amanda Yampolsky
Chris Magana
Bill and Melinda Maginnis
Louise and Bruce Magun
Jane Maland and Kyle Napoli
Elizabeth F. Malarkey
Lionel and Cecilia Maldonado
Cyndy and Edward Maletis
Judy Malolepsy and Alex Williams
Lisa and Shawn Mangum
Roy Manicke and Kristine Ferrier
David and Connie Manning
Linda and Ken Mantel
David and Dolorosa Margulis
M. James and Jennifer Mark
Susan Markley
Doris and Steve Marks
Mrs. Jean Reynolds
James Marsh and Jan Williams
Kathleen and K. Stanley Martin
Dawn Martinez
Mary and Pete Mark
Family Foundation
Susan S. Masin
Jay and Tonia Mason
Kirk Masterson and Meghan Moran
Margaret Matera
George Mattson and Hamish Tildesley
Linda May
Diane Forsgren McCall
Claire McCarthy
Greg McCauley
Judy McCraw
Eric McCready and Lawrence Luchtel
Jim and Char McCreight
Michael and Judy McCuddy
Heather McCulloch
Michael and Maryellen McCulloch
Linda McCullough and William Curley
James McDonald
Katherine McDowell and Ken Lerner
Peter McDowell and Carol Mannen
Kristi and Robert McFarland
Daniel Schwoerer and Lani McGregor
Brue and Anjanette McHayle
Masako and Malcolm McIver
Shannon and Michael McKinney
Patricia McMahan
Marie McMahon and Richard Dobrot
Walter McMonies and Caroline Hall
Patricia McNamee
Stuart McNaughton
Mona McNeil
Kate McNulty and Rosa Henritzy
Ken and Ryna Mehr
Laura S. Meier
David Meinhart and Charles Campbell
Debra Meisinger and Barry Buchanan
Elizabeth Menashe
Shawn Menashe
R. Michael Mendieta and Scott Bailey
Maria Menor and John Johnson
Nathan Metcalfe and Mary Milstead
Jan Meyer
Paulette Meyer
Meyer Memorial Trust
Michael Lee Groves Estate
Kathleen Michel
Andrea Milano and Gretchen Phelps
The Mildred E. and Harvey S. Mudd Foundation
Barry Miller
Brad and Nancy Miller
Hope Miller
J. Michael Miller and Jennifer O’Loughlin
John Miller
Mia Hall Miller and Matt Miller
Miller Family Foundation
Sarah and Brian Miller
Tracy Miller and Thomas Davis
Judith Miller-Keay and Bill Keay
Aldy Milliken
Marie and Thomas Minderhout
David and Robin Minor
Erin K. Mitchell
Nancy A. Mitchell
Jessica Molinar and Dave Otte
Sarah Mooney
Janice Morgan and Michael Rowe
Nancy and Kevin Morrice
Jeanette and Bruce Morrison
Mortenson Construction
Elizabeth Mowe
Daniel Mueller and
Jo Ann Pari-Mueller
Elaine Mui
Mullowney Printing Company
Ernest and Anne Munch
John and Nancy Murakami
Mary Jo Murawski and Marc Demarest
Ian Murdock
The Muriel Pollia Foundation
Carolyn and Terry Murphy
Cindy and Lawrence Murphy
Judy Murphy
Wade Myers
Dulcinea Myers-Newcomb and Jared Lewis
Jessica and Nima Nabavizadeh
Anne Naito-Campbell
Lindy J. Narver
Joanne M. Naughton
Omar Nazir
Megan Neff
Tom Neilsen
Christine Nelson
Rebecca Nemser
Linda Nettekoven and Larry Wallack
Gareth and Lisa Nevitt
Mark New and Robin Snyder
Kathleen Nicholson and William Ray
Peter and Christine Nickerson
John and Virginia Niemeyer
Nike, Inc.
Marketta Nord*
Paul North
Jonathan Novak
Allison and Kristin O’Reilly
Shelli O’Neal and Kyle Hauger
OCF Joseph E. Weston
Public Foundation
Mary and Rick Odeen
Katherine Oldham
Paul and Audrey Oliver
Marc Olivie
Madeline and Allan Olson
Alfred and Eileen Ono
Oregon Community Foundation
Oregon Electric Group
Oregon Film
Peter and Terry Osborne
Kim Osgood
Mary Overgaard and David Cook
Rodney and Sandra Page
Michele Palmquist
Adlai Pappy
Jin and Julieann Park
Kathleen and Bruce Parker
Lucinda Parker
Trude Parkinson and Peter Ozanne
Donna Parsons-Schlitt
Andrea Pastega Vloon and Remco Vloon
Laura Paulini and Lance Halvorsen
PDX Contemporary Art
Brenda J. Peterson
Charles Peterson and Susan Sater
Diane and David Peterson
Dianna Peterson
Janna K. Pfeifle
Rita and Bob Philip
Barbara Phillips
Rebecca Phillips
Robert and Ann Phillips
Wesley Phoa and Margaret Morgan
Pia Gallo LLC
Dorothy Piacentini
Mr. and Mrs. Luke Pietrok
Dorothy Plummer
Charles and Ruth Poindexter
David and Shirley Pollock
Anne Pope and Paul Schweizer
Erin and Grahm Porozni
Gayle and Carol Post Family
Fund of OCF
Dee Poth
Benita Potters
Michael and Alice Powell
Carol and Frank Powers
Michael Powers and Suellen Lacey
Rolando and Megan Pozos
Curt and Mary Pradelt
Mr. and Mrs. Wallace Preble
James Price and Francine Warkow
Tim Price and Brenda McLaughlin
Maxine and Andrzej Proskurowski
Jonathan and Susanne Purnell
Elizabeth and Klaus Putjenter
Charles Putney
Suzanne and Tom Puttman
Mark Pyrch and Will Peterson
Quality Home Care
Nate and Antje Quilici
Philip Quitslund and Jess Beebe
Janice E. Quivey
Linda Rae Hickey
Ron and Lee Ragen
Richard and Wendy Rahm
Marcia H. Randall
Diane and Herbert Rankin
Meenakshi Rao
Jim Rapp
Rahul Ravel
Laresa and Julie Rawson
Thomas Ray and Kathy Sharp
Michael Rear and Severena Johnston
Regional Arts & Culture Council
Natalie and Paul Reich
Mary Reilly
Jacob and Betty Reiss
Patricia Reser and William Westphal
Peggy Reuler
Marie and William Reykalin
Matvey Rezanov and Bree Oswill
Philippa Ribbink and Jacky Grey
James Rice
Lydia Rich and Rex Burkholder
Amy and Frank Richards
Phyllis and Bruce Ritchie
Michelle Ritter and Janet Anderson
Pat and Trudy Ritz
Caroline and Taniya Roberts
Roberts Projects
Michael Robertson and Gwyn McAlpine
Jane Robinson and Michael Sands
Linda Robinson and Bill Nelson
Gracie Robison
David Roche
Jana and Daniel Rocheleau
Cherri D. Roden
The Rodman Foundation
Joe and Bobbie Rodriguez
Richard and Susan Rogers
Michael Rosa and Gregory Larkin
Beverly and Dennis Rose
Tracy Rosenbalm and Tim Williams
Jessica Rosenberg
Charles Rosenblum and Cameron Gillooly
The Roundhouse Foundation
Sharon and Jerzy Rub
Craig and Mary Ruble
Marilyn Rudin and Richard Testut
Russo Lee Gallery
William K. Rutledge
Amanda Ryan and Amanda DeRego
Barbara and Charles Ryberg
Charles Rynerson and Karolyn Lee
Patricia E. Sacks
Susan Sadzikowski and Steve Powell
Sakana Foundation
Rudy and Thea Sanchez
Stephanie Sanford
Naomi Sarna
Christine and Steven Satterlee
Carol E. Savage
C. William and Meredith Savery
Robert Schafer
Ann Schaffer
Claudia Schechter
Sam Scheidler
Janet Schibel
Jon and Barbara Schleuning
Robert and Bonnie Schlieman
Wilder Schmaltz
Chuck and Rita Schmidt
The Schmidt Family Foundation
Paul Schneider and Lauren Eulau
Dori Schnitzer and Mark Brown
Jordan D. Schnitzer
Susan Schnitzer and Greg Goodman
Douglas A. Schoen
Barbara Schramm and Gordon Akeson
Jennifer Schuberth and John Urang
Bertil Schuil
Marcy Schwartz
Kristin Schwarz and Shad Clark
Wayne Schweinfest
Jeanette Scinto
Dennis Scolland and Bill Byrne
David and Lori Scott
Norman Scott and Patricia McDonald-Scott
Katherine Sealy
Florence Seelig
Douglas Seely
John Seemann and Robie Hines
Tad Seestedt and Mary Bonner
Mel Seger
Nancy Seiler
Cynthia Selin
Barbara Selis
Bonita L. Sells
Bonnie Serkin and Will Emery
Patricia A. Serrano
Jo Shapland and Doug Browning
ShedRain Corporation
Robert Shepherd and Mary Ann Sall
Karen Sheridan
Thomas and Megan Shipley
Stuart and Susan Shleifer
John Shoul
Catherine and Jeremy Shrall
Michael and M. Kelly Sievers
Sikkema Jenkins & Co
Lisa Silbert and Robert Geistwhite
Ian Simmons
Michael Simon and Suzanne Bonamici
Robert Shaw and Mary Skarie
Eugene and Bonnie Skourtes
David and Barbara Slader
Kimberly Smay
The Smidt Foundation
Shawn and Amy Smith
Thomas and Sheila Smith
William and M. Susan Smith
Dominique Smookler
Angela and Rex Snow
James and Barbara Snow
J. Andrew and Sue Snyder
Rick and Jacky Sohn
Jan and Chris Sokol
Martha and Les Soltesz
Steven Soos
Karen Sorensen and Jeff Summers
Leonard Sorese
Bill Southworth and Penny Welch
Pam and Joe Spedus
Ellen Spitaleri and John Trtek
Samantha Springer and Seth Pauley
Liza and Mark Springgate
Christy and Frederick Staats
David Staehely and Louise
Marriage
The Standard
Leigh Ann and Steven Starcevich
State of Oregon
Robert Staver and Charlotte Corelle
Sue Stegmiller
Ivars and Kristina Steinblums
James and Michele Stemler
Helen Stern
Charlie Stewart
Phyllis A. Stott
Irene Strahm
James Street
Judith Street and Liz Irwin
Cyndi and Eric Strid
Debi and Paul Stromberg
Johloyd Strong
Elle Stuckey
Elizabeth Sturtevant and John Eckhardt
The Sumitomo Foundation
Margie Sunderland
Donald and Roslyn Sutherland
Mary Sutter and Mark Mention
John Svicarovich
Donna Swartz
Catherine and Bob Sweeney
Marianne Sweeney and Larry Winkle
Swigert Foundation
Darci and Charlie Swindells
Maryam Tahririha and Bill Reed
Kim Cassel Tardie
Dana Taylor
Stephen and Meri Taylor
Jayanne and Gary Teeter
Barbara Goldfarb Tefferman
Teiger Foundation
Terra Foundation for American Art
Nora Terwilliger
Catherine and Michael Thiemann
David and Nancy Thomas
Jeffrey Thomas and Laura Cooper
Michael Thrailkill
Greg and Cathy Tibbles
Lou Ann Tiedemann
Shannon Timms
The Laurie M. Tisch
Illumination Fund
Daniel Tobin
Kevin Todd
Thomas and Andrea Tongue
Cheryl Tonkin
David and Janice Tooker
Laura Torgerson and Robert Doneker
Miguel Torres
Total Mechanical, Inc.
Trellis Art Fund
Brendan I. Trexler
Robert Trotman / Robert Trotman Interior Design
Hiroki and Kay Tsurumi
Thomas Tuttle
UBS Financial Services Inc.
James Underwood
Richard Urbanski
Tom and Ann Usher
Jill and Craig Vagt
Jacques and Mary Vaillancourt
Pat and Tom Valente
Sharon Van Gorder
Jennifer Van Meter and Greg Rucka
Ryan Vanden Brink
Elise and Don Varga
Karen Varnhagen, Morgan Stanley
Nancy Vartanian
Leah Vautar and Aaron Peterson
Missy Vaux Hall
Verisk Analytics
Andrew Vetterlein
Clara von Buch
John and Frances von Schlegell
Wacom
Kate and William Wadhams
Barbara Christy Wagner
Curtis Wahlen
Dieter Waiblinger
J. Phillip Walchli
Ann and James Waldman
Kathleen and Patricia Wall
Frank and Marguerite Walter
Ms. Wendy W. Warren and Mr. Thomas Brown
Robert and Elizabeth Warren
Mike Warwick and Susan Bailey
Nancy H. Weaver
Novena Weaver
Daniel Webb
Joyce Weisgerber
Amy and Michael Welch
Sarah and George Wells
Jo A. Wesson
Wendy West
Gary Westford and Maureen McGlynn
The Westridge Foundation
Marsha White
Sharon Whitney and Philip Shapiro
Jo Whitsell
Bill and Helen Jo Whitsell
Sue Wickizer and Dean Boyd
Mary Smith and James Wiglesworth
Willamette Dental Group
Willamette University/ PNCA Print Media
The William J.J. Gordon Family Foundation
Jan Williams
Jeff Williams and Jen Stevenson
Kelly Williams
Sara and Steven Williams
Steve Williams and Robert Zeszotarski
Janet Williamson
Thomas Willing and Mary Burgess
Julie R. Wilson
Susan Winkler
Don and Janet Wolf
Elizabeth and Robert Wolf
Jane and Norman Wolfe
Franklin Wong
Gail Woolf
Laura Woolf
Steven Wynne and Deborah Hewitt
Deborah Yaeger and John Emshwiller
Henry R. Ybarra
Mical Yohannes and Jordan Taylor
Anthony and Rhiannon Young
Gary Young
Heather and Ben Young
Rosina Yue
Jahae Yun and Jonghoon Kim
Cari and Susan Zall
Craig and Suzanne Zarling
David and Sherri Zava
James W. Zaworski
John and Nancy Zernel
Kim Ziebell
James and Carol Zuiches
Anonymous (11)
TRIBUTE GIFTS
Paul and Grace Andrews in appreciation of John Goodwin
Peter and Maddie Andrews in honor of Mary and Pete Mark
Susan and Arthur Rebell in honor of Amjad and Helen Bangash
Natalie H. Burlingame in honor of Meldon R. Coffey
Jean M. Coleman in memory of
John C. McGuire and Elinor S. McGuire
Randall Collis in honor of Grace Serbu
John Cooney in honor of Eleanor Cooney
Fotene and Tom Cote in memory of Brent Sikkema
Daniel Deutsch in honor of Cate Sweeney
Michelle Farber in memory of T Rex
Jane Flax in honor of Donna Carmichael
Tom Freudenheim in honor of Brian Ferriso
Nicholas G. Garaufis in honor of Alix M. Goodman
Jill and Tony Garvey in memory of Roger Meier
Cheryl Gude in memory of Harry Emil Viar
John and Wendy Hardman in memory of Rena Tonkin
Joshua E. Husbands in memory of Dan Wieden
Diane D. Jacobsen in honor of Don Urquhart
Bernadette Janet in memory of Carol Caughey
Janelle Jimerson in honor of Salena Johnson
Salena Johnson in memory of Rena Tonkin
Cynthia Kirk in memory of Jim Leisy
Helena and Milt Lankton in memory of Jean Irwin Hoffman
Leslie Mackenzie in memory of Dan Wieden
Marva Match in honor of Jeffrey Gibson
Linda May in memory of Rena Tonkin
Rebecca Nemser in memory of Paul Nemser
Travers Hill Polak in memory of Dan Wieden
Sarah K. Potter in honor of Mary Potter
Janice E. Quivey in memory of Rena Tonkin
James Rice in honor of Fiction Tribe
Carole Romm in honor of Tommy Griffin
James Rosenbaum in honor of Cheryl Tonkin
Craig and Mary Ruble in honor of Janet Edwards
Naomi Sarna in honor of Ed Sheller
Susan Schnitzer, Dori Schnitzer, and Jean Schnitzer Marks in memory of Rena Tonkin
Stuart and Susan Shleifer
In honor of Cheryl Tonkin
In memory of Rena Tonkin
Rick Simpson in memory of Anne Simpson
Jake Smith in honor of Lisa Joy
Daria Stalions in honor of William Stalions
Christopher Stellman in memory of Harry Emil Viar
Andrew Vetterlein in memory of Denise Vetterlein
Priscilla Bernard Wieden in memory of Dan Wieden
Verity Wilcox
In honor of Aliza Allen
In memory of Dan Wieden
Mical Yohannes in appreciation of John Goodwin
Anonymous in memory of Alden
Nathaniel Bradley
Anonymous in memory of Brent Sikkema
Anonymous in honor of Winona & Maddy
Anonymous in honor of Naomi Zwerdling
Anonymous In memory of Francis J. Newton In memory of Hans von Schmidt In memory of Rachael Smith
Griffin
We gratefully acknowledge our major supporters of Exhibitions, Learning & Community Partnerships, and the Museum Fund, who help make all of our work possible.
As of May 31, 2024
PRESENTING
Art Bridges Foundation
Mary and Ryan Finley
William G. Gilmore Foundation
Institute of Museum and Library Services
Mary and Pete Mark Family Foundation
The Laura and Roger Meier Family
The James F. and Marion L. Miller Foundation
Oregon Community Foundation
Regional Arts and Culture Council
State of Oregon
LEAD
Mary and Cheney Cowles
Ann Flowerree / Flowerree Foundation
McGraw Family Foundation
Dorothy Piacentini
Pat and Trudy Ritz
Bill and Helen Jo Whitsell
MAJOR
Mary and Tim Boyle
Cooper Dubois and Sanda Stein
Miller Family Foundation
Oregon Arts Commission
Travers and Vasek Polak
The Reser Family Foundation
The Roundhouse Foundation
The Smidt Foundation
The Standard
Joseph E. Weston Public Foundation of the Oregon Community Foundation
SPONSOR
Allen Trust Company
Sharon and Keith Barnes Endowment
Louis and Virginia Clemente Foundation
Kirk and Elizabeth Day
The Lamb Baldwin Foundation
Nancy Lematta
Northern Trust
Pamplin Foundation Endowment for the Arts
Rose E. Tucker Charitable Trust
Robert Trotman Interior Design
Barbara and Phil Silver / Silver Family Foundation
The Swigert Warren Foundation
Priscilla Bernard Wieden in memory of Dan Wieden
THE ELLA HIRSCH SOCIETY
In 1937, as the U.S. was emerging from the Great Depression, the Portland Art Museum received a significant gift valued at $853,000 (equivalent to $18 million today) from Miss Ella Hirsch in honor of her parents, Solomon and Josephine Hirsch.
The Solomon and Josephine Hirsch Memorial Wing opened in 1939 and more than doubled the size of the museum. The balance of the gift established the Ella Hirsch Endowment Fund for the acquisition of new art objects. Since its establishment, earnings from the endowment fund have paid for nearly 100 new works of art.
Through the provisions of her will, Ella memorialized her parents and expressed what was important to their family—not only art but also community service.
Following this remarkable contribution, the Ella Hirsch Legacy Society was formed to encourage and assist individuals in planning their own major, endowed, and deferred gifts to the Museum. Those who have included the Museum in their long-term giving plans are recognized as members of the Ella Hirsch Legacy Society. For those interested in starting this process, the Museum offers support and guidance through their Development team. Contact Development at 503-276-4365, email development@pam.org, or visit pam.giftlegacy.com to learn more.
Chaim Soutine (Russian, 1893-1943), Le Petit Patissier (The Little Pastry Cook) detail, ca. 1921, oil on canvas, image:
Museum Purchase: Ella M. Hirsch Fund. Portland Art Museum, Portland, Oregon, 40.30
ELLA HIRSCH SOCIETY LIST
Anthony C. R. Albrecht
Betty Allen*
Ron Anderegg
Linda and Scott Andrews
Phillip C. Miller and Sharleen Andrews-Miller
Roger Barber* in honor of Olivia Shepard Barber
Patricia H. Beckman*
Marjorie and Pietro Belluschi*
William Ashworth* and Lee Anna Bennett Ashworth*
Pamela Berg
Daniel Bergsvik and Donald Hastler
Patricia and Steven Bilow
Clarence Bobbe*
Mr. Bruce Bowers*
Judy Bradley and Dave Mitchell
Barbara and Robert Brady
Theodore* and Celia Brandt
Kay and Marty Brantley and Sons
Marjorie Briggs*
Lucy M. Buchanan
Kay Campbell and John Maul*
Brent and Laura Carreau
Ed Cauduro*
Nancy* and William Chalmers
Linda Clark and Chris White
Maribeth W. Collins*
Ardeth E. Colliver*
Lois V. Colliver*
Chuck and Peggy Corgan*
Jeannine B. Cowles*
Laura and Ron Croft
Ms. Lois R. Davidson*
Pamela R. and Paul A. De Boni
Bryan Deaner
Mary and Spencer* Dick
Julia Dolan, Ph.D.
Mr. Stuart Durkheimer*
Stephen W. Edwards*
James Kahan and Kathia Emery
Erma C. Engels*
Joanne M. Engels
Mrs. Leonie Everett
Henry Failing Trust
Leslie M. Faught
Fred and Sue Fields*
Bill Findlay*
Janet H. and Richard* Geary
Stephen and Priscilla Glazer
Walter B. Gleason*
Doug and Lila* Goodman
Margaret Gravatt*
Leona and Patrick Green
Linda Green in memory of Ella and Lloyd Green
Michael L. Groves*
Bruce Guenther and
Eduardo A. Vides, M.D.
Guinivere Hall*
Susan Halton
John and Carol Hampton*
Michael Harrison
Karl and Edith Henze*
Travers Hill Polak
Judi K. Hofer*
Ronna and Eric* Hoffman
Thomas W. Holman, Sr.*
Mr. Manuel Izquierdo*
Jerry G. Jones*
Noel Jordan*
Fred and Gail Jubitz
Dr. and Ms. James Paul Kahan
Wendy Kahle and Stanley G. Boles
Ruth Kainen*
Dr. Sivia Kaye*
Lucy Keating*
Richard and Ruthie Keller*
Martin* and Judy Kelley
John Kellogg
Marian Kolisch*
Linda Lamb
Drs. Dolores and Fernando* Leon
Joe and Maria Leon
Irving Lieberman*
Veronica A. Macdonald*
Linda and Ken Mantel
Mary and Pete Mark*
Irene H. McHale*
Marilyn McIver*
Laura and Roger* Meier
Sarah Miller Meigs and Andrew Meigs
Gloria Grimson Mighell
Edie and Mark Millar
Prudence M. Miller*
Robert and Sharon Miller
Camila Morrison
Eldon W. Ostrem*
Dr. Robert B. Pamplin and Mrs. Marilyn H. Pamplin
Jin and Julieann Park
Martha Jane Pearcy
Carl Pearson*
John W. S. Platt*
Christy Anthony Ragan and Jack Merritt Ragan III
James and Judith* Rankin
Nancy Renz
Marge Riley*
Pat and Trudy Ritz
Edwin T. Robinson
Jay and Martha Rosacker
Mrs. Mary Rosenberg
Mr. Jon W. Roth*
Sarah K. Rowley and Garry Neil
Marilyn L. Rudin, MD and Richard S. Testut, Jr.
Catherine Rudolf
Luwayne E. Sammons
Arlene and Harold Schnitzer*
Ms. Jeanne Schramm*
Peter Shinbach
Ken Shores* and Tom Law
Dr. Joseph A. Soldati*
Gordon D. Sondland
Richard C. Stetson, Jr.
Patricia Swenson*
The Estate of Stephen Swerling*
Ms. Christine Swigert*
Ann J. Swindells*
Ralph and Rose Tanz F. Harrison Taylor*
Monte L. and Doris R. Thoen*
Greg and Cathy Tibbles
Robert Trotman
John Unruh*
Georgia Vareldzis*
Jane and Lawrence Viehl
Liz and Larry Volchok
Margo Grant Walsh
Nani S. Warren*
Daniel Webb
David E. Wedge Trust*
Bill and Helen Jo Whitsell
Valerie L. Whittlesey
Karin and Bill Wright*
Charles Wrobel, M.D. and Heidi Affentranger
Anonymous (12)
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 just behind the Museum at Southwest 10th Avenue and Jefferson Street, our Rental Sales Gallery offers a great opportunity to fill your walls with stunning original fine art, through either purchases or our art rental program. RSG is open for walk-in visits Tuesday–Saturday, 11 a.m. to 5 p.m.
With prices starting from less than $50 for a three-month rental, this is one of the most accessible ways to have beautiful, unique artworks in your home or business. RSG also offers consultation, delivery and installation services.
Make sure to join us on Friday, October 25, 4 to 7 p.m., for the opening of the Gallery’s Fall Member Artist Show. Then welcome our newest artists at the opening of our New Member Artist Show on Friday, December 6, 4 to 7 p.m.
The Gallery has more than 1,000 original works of art by over 200 regional artists, all available for rental or purchase. Every transaction supports our artists and Portland Art Museum. Visit the Gallery online at rentalsalesgallery.com or contact us at 503-224-0674 or rentalsales@pam.org to find out more.
PAM Venues
Support the Museum mission through a private event with PAM Venues! Whether you are planning an intimate wedding, a 500-person fundraiser, or any other milestone event, we offer a diverse assortment of unique event spaces, including the Museum’s beautiful Kridel Grand Ballroom (pictured), featuring incredible lighting and audiovisual systems for a state-of-the-art experience. Our venue provides an event experience that your guests will never forget. Visit events. portlandartmuseum.org.
Members will receive 10% off an event booked and carried out in January through March 2025, or June through August 2025. Reach out directly to events@pam.org. Our expert team would love to help you plan the perfect event.
Museum Store
The Museum Store has temporarily moved while our beautiful new Store adjacent to the Mark Rothko Pavilion is being built. We are open in our new location to the left as you come in the front entrance of the Museum on Park Avenue. The Store remains open during Museum visitor hours—please come and see us!
The Museum Store is also online at store.pam.org, with shipping and curbside pickup, and it’s easier than ever to browse the eclectic selections that the Store is known for. Use discount code MEM1219 to receive your 10% member discount on the same great merchandise you’d see in-store, online!
You can support the Museum by shopping in our Museum Store on site or online. 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.
LEFT: Mel Townsend, Fremont Bridge Spring; TOP: Kridel Grand Ballroom; RIGHT: Cover of the exhibition catalog 1964: Eyes of the Storm by Paul McCartney, published by Liveright, 2023.
EXHIBITION SCHEDULE
Opening
PAUL McCARTNEY
PHOTOGRAPHS 1963–64: EYES OF THE STORM
September 14, 2024 – January 19, 2025
PSYCHEDELIC ROCK POSTERS AND FASHION OF THE 1960S
October 19, 2024 – March 30, 2025
Continuing
MONET TO MATISSE: FRENCH MODERNS
Through September 15, 2024
PISSARRO TO PICASSO: MASTERWORKS ON LOAN FROM THE KIRKLAND FAMILY COLLECTION
Through September 15, 2024
THROUGHLINES: CONNECTIONS IN THE COLLECTION
Through Spring 2025
PROGRAMS
For the latest on public programs, pop-up happenings, and ongoing offerings, subscribe to our email newsletter and check our online calendar at portlandartmuseum.org/calendar.
CONTACTS
General Information
Membership Information
HOURS
503-226-2811
503-276-4249
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
Seniors (62 and older)
Students (18 and older with ID)
$25
$22
$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.
Free First Thursdays – Museum admission and Tomorrow Theater programs are free on the first Thursday of every month with extended Museum hours to 7 p.m.
Arts for All – Oregon Trail Card holders can purchase up to two admissions for $5.
Blue Star Museums Program – Offers free admission to the nation’s active-duty military personnel and their families. The Museum also offers free admission for veterans.
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.
Additional support for Museum access programs provided by The Lamb-Baldwin Foundation, Nancy Lematta, Miller Family Foundation, The Gordon D. Sondland and Katherine J. Durant Foundation, Joseph E. Weston Public Foundation of Oregon Community Foundation, and Art Bridges Foundation.
One-third of all visitors enjoy the Museum for free or at a highly reduced admission price.
We are deeply grateful for your unwavering generosity. Your support is vital in helping our Museum bring world-class art and experiences to our community. Thanks to you, we’ve hosted exciting exhibitions, expanded our educational programs, and enhanced our outreach initiatives. Your commitment has enabled us to innovate and adapt, particularly during our campus transformation.
As we look forward to the future, we remain thankful for your partnership. Together, we are creating a legacy of artistic excellence and cultural enrichment for generations to come. Thank you for being an integral part of our Portland Art Museum family.
PSYCHEDELIC ROCK POSTERS AND FASHION OF THE 1960S
OCTOBER 19, 2024 – MARCH 30, 2025
Wes Wilson (American, 1937-2020), Byrds, Moby Grape, Andrew Staples, March 31 & April 1 at the Winterland, April 2, Fillmore Auditorium, 1967, color offset lithograph on paper, Loan from the Gary Westford Collection. Portland Art Museum, Portland, Oregon, L2024.12.2.
