FALL 2019
hank willis thomas maribeth graybill retires janet geary life trustee
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FROM THE DIRECTOR
19 NORTHWEST FILM CENTER
3 EXHIBITIONS & INSTALLATIONS
Director Amy Dotson
Abbas Kiarostami Retrospective
Hank Willis Thomas: All Things Being Equal…
Reel Music 37
Question Bridge: Black Males
Julia Reichert Retrospective
Italian Excellence: Illustrations for Gianni Rodari
Northwest Tracking
Weekend Engagements
The Art of Reading: American Publishing Posters of the 1890s
Toughened to Wind and Sun: Women Photographing the Landscape
Portraiture from the Collection of Northwest Art
Isaka Shamsud-Din: Rock of Ages
Being Present
13 NEWS & NOTEWORTHY
Maribeth Graybill Retires
Korean Screen Restoration
Rental Sales Gallery at 60
Janet Geary Appointed Life Trustee
23 MEMBERS & PATRONS
Patron Exclusives
Just for Members
27 PROGRAMS & ACTIVITIES
Exhibition Programs
Additional Programs
Ongoing Programs
Public Programs
35 GIFTS & GATHERINGS 45 CALENDAR
PORTAL, VOL. 8, ISSUE 3
Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-276-4249. For general information call 503-226-2811. The mission of the Portland Art Museum is to engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations.
COVER/OPPOSITE: Hank Willis Thomas (American, born 1976), Guernica, 2016, mixed media including sport jerseys, © Hank Willis Thomas. courtesy of the artist and Jack Shainman Gallery, New York; Hank Willis Thomas (American, born 1976), Branded Head, from the series B®anded, 2003, Chromogenic print, © Hank Willis Thomas. courtesy of the artist and Jack Shainman Gallery, New York; Isaka Shamsud-Din (American, born 1940), Hare, Lion and Spider, 1967, oil on canvas, Museum purchase: Helen Thurston Ayer Fund, © Isaka Shamsud-Din; Barbara Bosworth (American, born 1953), Hounds at Tree, Lochsa River Valley, from the series One Star and A Dark Voyage, 1992, gelatin silver print, Museum purchase: Funds provided by the Photography Council, © Barbara Bosworth.
FROM THE DIRECTOR The role of museums is constantly evolving. At their core, museums are responsible for collecting and preserving art, but museums are also increasingly accepting the responsibility to be places for conversation and knowledge sharing, and places where we can learn from and about each other. This is a new way of thinking about museums, and it is reflected in how we view the Portland Art Museum’s mission in the community. Our mission goes beyond the traditional—and essential—work of acquiring, conserving, and exhibiting wonderful art. We need places we can think deeply about the world. This fall, the Portland Art Museum presents an exhibition with great significance for both this institution and our city. Opening October 12, Hank Willis Thomas: All Things Being Equal… is the first major survey of a nationally important artist. Thomas is a thoughtful and creatively insightful artist who I am confident will challenge and inspire our visitors, as well as prompt important dialogue. This significant exhibition could not have come to the Museum without the vision, expertise, and passion of its co-curators, Julia Dolan, Ph.D., The Minor White Curator of Photography, and Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. When I arrived at this Museum in 2006, I made it a priority to grow our curatorial and education departments, and to hire and invest in great people who will push this museum forward. Many of these positions are now filled with some of the strongest people working in the field today and supported with endowments, ensuring that Portland will benefit from their work well into the future. This exhibition and its related programs also show the significant collaboration between our curators and the deepening relationships with our learning and community partnerships team. Our community partners hold an extraordinary place in All Things Being Equal…, as you’ll encounter in the Community Partners in Residence Space: a gallery, mini library, gathering space, and place to talk, rest, and contemplate, where the voices of people in the community who have valuable perspectives can be heard. Another indication of this exhibition’s importance is the phenomenal level of response among both national foundations and local Museum supporters. A full listing can be found in the following pages. This powerful support is a sign of the museum’s continuing relevance. The museum’s role is ever evolving, but we keep a steadfast commitment to serve, reflect, and strengthen our communities. Thank you for supporting this work.
Brian J. Ferriso The Marilyn H. and Dr. Robert B. Pamplin Jr. Director Chief Curator
Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art, and Julia Dolan, Ph.D., The Minor White Curator of Photography, with artist Hank Willis Thomas at an exhibition fundraiser in March 2019. 2 PORTLAND ART MUSEUM
EXHIBITIONS & INSTALLATIONS
This fall, the Portland Art Museum is honored to present the first major retrospective of this important artist’s work. Hank Willis Thomas: All Things Being Equal… features more than 90 works, including photographic series, sculptures based on archival photographs taken during historic 20th-century events, quilts constructed from commercial sports jerseys and prison uniforms, video installations, and interactive two-dimensional and time-based works. In addition, the Museum has supported the creation of a new work addressing lives lost to gun violence in the United States in 2018; this monumental work reimagines the deeply symbolic stars of the American flag and serves as the entry point to the exhibition.
OCTOBER 12, 2019 – JANUARY 12, 2020 Main Building, Floors 1 & 2, Galleries 104, 109, 110, 209
Throughout his career, Hank Willis Thomas (American, born 1976) has created bold, skillfully crafted works that challenge the visual systems that institute discrimination, register inequality, and perpetuate racial bias. His photographs, sculpture, video, and collaborative projects invite us to consider the role popular culture plays in portraying difference and how art is an essential tool in the ongoing struggle for social justice and human rights.
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including the human toll of gun violence, the impact of corporate branding and the commodification of individuals, and the ways advertising encodes racial identities for marketing purposes. The exhibition also highlights Thomas’s investigation of archival images from many sources and how he has applied strategies of appropriating and reframing texts, images, and materials to connect historical moments of resistance and protest to our lives today. His work is a call to continue moving toward greater social justice. Portland Art Museum visitors and passersby have already interacted with Thomas’s work— first in 2016’s In Search of the Truth (Truth Booth), a traveling collective work with artists
“Hank Willis Thomas deftly confronts the most critical issues facing us today—racism, violence, inequality, injustice—through a range of dynamic, approachable artworks,” said Curator of Photography Julia Dolan. “He encourages thoughtful inquiry through these works, inviting viewers to acknowledge histories of struggle and the damaging legacies of oppressive systems without losing sight of the hope for meaningful change. The exhibition traces Thomas’s multi-decade commitment to exploring that which divides us. It also forefronts his belief that acknowledging our collective past can help move us forward in constructive and collaborative ways.” The works included in All Things Being Equal… demonstrate Thomas’s inventive exploration of photography, advertising, and modern art and their many sociocultural ramifications. The exhibition groups artworks thematically to illuminate subjects Thomas has treated with sensitive nuance throughout his career, TOP: Hank Willis Thomas (American, born 1976), Raise Up, 2014. Bronze, © Hank Willis Thomas, Courtesy of the artist and Jack Shainman Gallery, New York; Hank Willis Thomas (American, born 1976), Amandla, 2014. Silicone, fiberglass, and metal finish, © Hank Willis Thomas, Courtesy of the artist and Jack, Shainman Gallery, New York; RIGHT: Hank Willis Thomas (American, born 1976), Branded Head, from the series B®anded, 2003, Chromogenic print, © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York.
Ryan Alexiev, Jim Ricks, and Will Sylvester, inviting audiences to step inside a giant inflatable speech bubble marked with the single word “Truth” and complete the sentence “The Truth Is…” while being videotaped, and more recently with the For Freedoms 50 State Initiative banners promoting voting in the 2018 midterm elections. “Hank Willis Thomas works in multiple mediums, including socially engaged collaborative projects. Our Cause Collective and For Freedoms partnerships gave museumgoers a preview of his deeply human-centered approach, grounded in respecting each individual’s voice and seeing each person as a whole being, not as a stereotype or an ‘other,’” said Sara Krajewski, Curator of Modern and Contemporary Art. “In both his solo work and his collaborations, Thomas asks us to join him in reconsidering past moments and presentday events so that we can better combat the political, social, and economic institutions that divide and dehumanize us. His works uplift those who have been fighting for change all along.” A significant and dynamic component of All Things Being Equal… involves collaborating with Portland-based individuals and organizations on a sustained level, grounding the exhibition’s content in local issues as well as social and political movements. Ella Ray, the Museum’s Kress Interpretive Fellow and Community Partnerships Coordinator, has formed new connections and further developed established relationships with King School Museum of Contemporary Art, Don’t Shoot Portland, The Numberz (96.7 FM), and We+Black sponsored in part by
at Wieden + Kennedy, among others. A Community Partners in Residence Space, located within the exhibition, will provide a gathering place for the community partners and will play host to a number of special events throughout the run of the exhibition. A comprehensive publication accompanies the exhibition. Copublished with Aperture in 2018, the book features essays by the exhibition’s cocurators, as well as new scholarship by professor Sarah Lewis (Harvard University) and an interview with the artist by Dr. Kellie Jones (Columbia University). In 2020, Hank Willis Thomas: All Things Being Equal… will travel to Crystal Bridges Museum of American Art in Bentonville, Arkansas, and the Cincinnati Art Museum. Organized by the Portland Art Museum and cocurated by Julia Dolan, Ph.D., The Minor White Curator of Photography, and Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. Additional support from Spencer Noecker and Cambria Benson Noecker; Contemporary Art Council; The Jackson Foundation; Travel Portland; Ed Cauduro Fund of the Oregon Community Foundation; McGeady Family Foundation; Dan Wieden and Priscilla Bernard Wieden; adidas; Arnold and Augusta Newman Foundation; hivemodern.com ; LookModern; PDX CONTEMPORARY ART; Photo Council; Jordan Schnitzer; Exhibition Series Sponsors. Visit portlandartmuseum.org/hank-willisthomas for full list.
COMMUNITY PARTNERS IN RESIDENCE BY ELLA RAY, KRESS INTERPRETIVE FELLOW AND COMMUNITY PARTNERSHIPS COORDINATOR
Within the exhibition galleries of Hank Willis Thomas: All Things Being Equal…, the Community Partners in Residence Space will act as home base for the partnerships connected to the exhibition. Over the course of the exhibition this area will serve as a gallery, a gathering place, a mini library, a place to contemplate, a resting space, and hopefully more. Much of Hank Willis Thomas’s work considers the relationships between objects and people, history and people, and objects and history. In an effort to continue this circular inquiry, community partnerships are central to the All Things Being Equal... exhibition. In presenting this show, we must ask how the artist’s work relates, or fails to relate, to our audiences—thinking critically about what it means to exhibit art objects that explicitly narrate experiences of anti-Blackness, global resistance, Black joy, and capitalist consumption in present-day Portland, Oregon. The decision to dedicate time, space, and resources to community partnerships comes from the desire to acknowledge that there are organizations and individuals living and working in Portland that have been grappling with the content of this exhibition for much longer than we have. Within this exhibition, in literal and figurative terms, we are creating opportunities for Portland communities to co-author experiences that stretch beyond a singular program—taking up space within the physical footprint of the show and centralizing the local response to a body of work oriented toward national audiences. Don’t Shoot PDX, We+Black, The Numberz (96.7 FM), Oregon Justice Resource Center, Portland in Color, and the King School Museum of Contemporary Art are the core community partners for All Things Being Equal…. Each of these partners brings with them ways of knowing and doing that we recognize as integral not only to engaging with Thomas’s work, but to understanding how Portlanders are thinking about their relationships to one another, to an increasingly changing city, and to the Portland Art Museum. We are endlessly grateful to be in this process with our community partners. The labor, energy, and knowledge they bring to this project has increased our ability to approach contemporary art as a praxis through which we connect, question, and inspire. A million thank yous to everyone involved.
WE+BLACK A Wieden + Kennedy
collective for the Black Diaspora, We+Black was established to enhance the Black experience, encourage equality, celebrate each other, strengthen our community, and share our diverse culture. Started by Teressa Raiford in 2014, Don’t Shoot PDX is a grassroots organization dedicated to providing Portlanders with the activist, legal, and social justice tools needed to fight back against racial injustice, police brutality, and systemic poverty. Founded in 2014 by contemporary artists Harrell Fletcher and Lisa Jarrett, KSMoCA (King School Museum of Contemporary Art) is an artist-run project in the form of a museum. KSMoCA is supported by Portland State University’s Art + Social Practice graduate program. The Numberz (96.7 FM) defines itself as a radio station that aims to air Black music by Black people from Black Portland. This station connects with folks systemically disconnected from the “cultural and artistic hubs” located nearer the city center and uses music as a means of connecting the diaspora. Oregon Justice Resource Center was founded in 2011 by Bobbin Singh and Erin McKee. The Center works to promote civil rights and improve legal representation for BIPOC and poor folks. OJRC works in collaboration with other like-minded organizations to expand their reach to serve underrepresented populations, to train future public interest lawyers, and to educate our community on civil rights and current civil liberties concerns. From its origins as a 2017 photo series by Celeste Noche, Portland in Color has evolved into a directory and journal celebrating the city’s artists of color in partnership with writer and educator Emilly Prado.
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QUESTION BRIDGE: Black Males ON VIEW THROUGH JANUARY 12, 2020 Modern and Contemporary Art, Floor 3, Gallery 307
Hank Willis Thomas’s artistic practice is often collaborative, with collective works taking shape both formally and informally. Cause Collective is one of his long-term, projectbased collaborations, recognized for its interdisciplinary and transmedia approach. In conjunction with Hank Willis Thomas: All Things Being Equal…, the Museum will present Cause Collective’s award-winning Question Bridge: Black Males in the Jubitz Center for Modern and Contemporary Art third-floor video gallery. Structured as a series of questions and answers, Question Bridge: Black Males gives voice to an array of African American men of all ages and backgrounds, from across the United States. As one man appears on camera to pose a question, the video cuts to another man answering it, and then another and another—a multitude of individuals responding to the evocative prompts and recounting anecdotes, histories, opinions, LEFT: Hank Willis Thomas (American, born 1976), All Things Being Equal..., 2010. Polished stainless steel with pin mount, Courtesy of the artist and Jack Shainman Gallery, New York. © Hank Willis Thomas; Cause Collective, Question Bridge: Black Male, 2012, image courtesy of Hank Willis Thomas Studio.
facts, and beliefs in a candid discussion of topics rarely voiced to a broad audience. For Thomas, the tragic death of his cousin and best friend Songha Willis drove his commitment to making Question Bridge: Black Males. “I [had] struggled for eight years to find creative ways to deal with my cousin’s murder and the larger genocide of African American males,” Thomas recalled. “For me, the problem seems tied to the overall myth of black maleness. The image of the black male created by commercial media and historical suggestion is a fraud. My aim is to expose it.” Moved by the power of genuine, direct exchange, Thomas and fellow collaborators Chris Johnson, Bayeté Ross Smith, and Kamal Sinclair traveled across the country, recording contributions from nearly 160 men. The singlechannel projection on view at the Museum creates the sensation of a virtual conversation, with many participants speaking across time and distance. Viewers do not hear Cause Collective members’ voices in the work. Instead, each
participant speaks from his lived experience. Their on-screen presence reveals the real, complex, and inherent diversity within a demographic group historically and consistently “othered” by the white dominant culture of the United States. Their voices are key: being heard, not just seen, reaffirms each individual’s subjectivity and deposes stereotypes of the “black male.” In Thomas’s human-centered art, the elementary call to hear and see each other—to recognize each other as unique yet interdependent human beings—is undeniably necessary to achieve racial equity. Curated by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art and Julia Dolan, Ph.D., The Minor White Curator of Photography. Learn more at questionbridge.com.
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THE ART OF READING: American Publishing Posters of the 1890s NOVEMBER 16, 2019 – JUNE 21, 2020 Main Building, Floors LL, Gallery LL1
ITALIAN EXCELLENCE: Illustrations for Gianni Rodari ON VIEW THROUGH NOVEMBER 10, 2019 Main Building, Floor LL, Gallery LL1
Celebrated journalist Giovanni “Gianni” Rodari was also one of Italy’s most important 20th-century writers for children. In honor of the centenary of Rodari’s birth, the Bologna Children’s Book Fair, Regione EmiliaRomagna, and the Italian Cultural Institute of San Francisco have partnered to present an exhibition of original illustrations for Rodari’s books. The exhibition represents a timeline of Italian design, including influential illustrators and renowned contemporary artists.
The artistic poster first flourished in the United States in the 1890s. Initially following design trends pioneered in Europe, American artists soon created their own unique style. Magazines were among the first to adopt this new form of advertising, employing outstanding designers such as Will Bradley, Edward Penfield, and Maxfield Parrish to advertise periodicals including Harper’s, Lippincott’s, and The Century. The posters were produced using color lithography, allowing artists to create powerful designs with bold color that married original art with advertising. Posters were placed in bookshops and on newsstands to entice readers to purchase books and magazines, but soon the artistic posters became more popular than the work they advertised. A brief but intense period of “poster mania” swept the country before dying out just as quickly. This exhibition features original posters, magazine covers, and book covers from this exciting chapter of design, artistic, and literary history. The exhibition is largely drawn from the collection of Daniel Bergsvik and Donald Hastler, who have promised their distinguished collection of American and international posters to the Portland Art Museum. This exhibition is organized by the Portland Art Museum and curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings. It is supported in part by the Vivian and Gordon Gilkey Endowment for Graphic Art and the Exhibition Series Sponsors.
Portland is proud to partner with our sister city, Bologna, Italy, to present this winsome look into Italian book illustration. “As a former bookseller, lover of illustrated books, and Portland’s Art Commissioner, I’m thrilled about this exhibition celebrating the 15th anniversary of the Portland-Bologna Sister City relationship,” said Portland City Commissioner Chloe Eudaly. “I am particularly excited to see original work by artist, writer, inventor, designer, architect, and illustrator Bruno Munari, whose work inspires a sense of wonder and enchantment in readers of all ages.” Organized by the Italian Cultural Institute of San Francisco and BolognaFiere, with the support of the Consulate General of Italy in San Francisco, Portland City Hall, City of Bologna, Regione Emilia-Romagna and Portland-Bologna Sister City Association. Curated by Giannino Stoppani Cultural Collective, Accademia Drosselmeier.
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TOP: Giulia Orecchia, Italian, Untitled, 2018. Digital collage. Published in At the Theater with Gianni Rodari, 2018. Courtesy of the artist and Einaudi Ragazzi; Maxfield Parrish, The Century, 1897, promised gift of Dan Bergsvik and Don Hastler; Joseph J. Gould Jr., Lippincott’s: August, 1896, promised gift of Dan Bergsvik and Don Hastler; ABOVE RIGHT: Barbara Bosworth (American, born 1953), Hounds at Tree, Lochsa River Valley, from the series One Star and A Dark Voyage, 1992, gelatin silver print, Museum purchase: Funds provided by the Photography Council, © Barbara Bosworth.
TOUGHENED TO WIND AND SUN: Women Photographing the Landscape ON VIEW THROUGH MARCH 8, 2020 Modern and Contemporary Art, Floor 2M, Gallery 220
During the early 20th century, Pictorialist photographer Anne Brigman regularly hiked and camped in California’s Sierra Nevada mountain range, photographing the rugged landscape with her 4-by-5-inch view camera. She later recalled, “I slowly found my power with the camera among the junipers and tamarack pines of the high, storm-swept altitudes.” Toughened to Wind and Sun explores more than a century of landscape photographs created by more than 30 women. Drawn
almost entirely from the Museum’s permanent collection, this exhibition celebrates a critical, vibrant, and underrepresented aspect of photographic history. By the mid-19th century, when photography first became possible for a wide range of practitioners, civil laws and social expectations shaped women’s behavior and relegated them largely to the space of the home and garden. Although women were active in photography from the medium’s earliest period, the terrain beyond the home was the purview of male photographers. Images of hard-to-reach scenic
wonders made by men continue to influence our understanding of landscape photography and punctuate its history. Yet, by the turn of the 20th century, women were making frequent and significant contributions to this area of photographic practice. In Toughened to Wind and Sun, works by Oregon’s own Myra Albert Wiggins and Lily E. White demonstrate an early and expansive regional as well as world view, while Sara Cwynar, Wendy Red Star, and Penelope Umbrico push the boundaries— whether physical or conceptual—of landscape photography today. Organized by the Portland Art Museum and curated by Julia Dolan, Ph.D., The Minor White Curator of Photography.
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ISAKA SHAMSUD-DIN: Rock of Ages NOVEMBER 2, 2019 – AUGUST 2021 Main Building, Floor 3, Gallery 303
PORTRAITURE FROM THE COLLECTION OF NORTHWEST ART NOVEMBER 2, 2019 – AUGUST 2021 Main Building, Floor 3, Gallery 302, 304, 305, & 306
In the rich tradition of portraiture reflected in Northwest art, there is an exemplary range of individuals and styles of depiction. For this exhibition, the artist Storm Tharp was invited to help select works from the collection through his keen eyes as a fellow portraitist. As he combed through the collection, some themes in portraiture rose to the surface: the self-portrait, artists and friends, family, psychological space, and making present those who have been less recognized. For an artist, capturing a literal likeness is far less important than grasping the essence of a person or the moment in time. How artists in this collection have chosen to do this is remarkably varied, offering an alluring examination in itself. Across the themes and styles in this exhibition, it is evident that portraiture allows for a breadth of expressiveness, a scrutiny of the self, and the occasion to connect with those around us. Curated by Storm Tharp in collaboration with Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art.
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Isaka Shamsud-Din: Rock of Ages is an intimate exhibition celebrating the Portland artist’s masterful paintings, rich in a narrative combining personal stories and folklore. Shamsud-Din’s paintings also celebrate and honor individuals by capturing portraits. Tightly composed and with a vibrancy of color, the works invite viewers to be among these individuals and warm settings. The exhibition is titled after Shamsud-Din’s painting of his father, Rock of Ages (1976), the museum’s most recent acquisition of the artist’s work. Capturing his subject in the luscious garden that his father prided himself in—a setting that was particularly special for the very close father and son—Shamsud-Din invites the viewer to see this man. In Brothers Fhree (ca. 1990), Shamsud-Din reveals a scene at a local club then called the Welcome Inn, on Northeast Alberta Street. It is a happening place of social gathering, playing pool, dancing, and relaxing, while the backdrop of the Pyramids of Giza is a reminder of roots to Africa and pre-colonial kinship. With the support of the Regional Arts and Culture Council (RACC) and Teressa Raiford of Don’t Shoot Portland, the exhibition will also highlight the significant mural projects Shamsud-Din has created for Portland in a span of more than 50 years. Isaka Shamsud-Din (born 1940) came to Portland via Texas when he was in the first grade. The sixth of 14 children, Shamsud-Din became aware of the many inequitable systems as a young black person navigating his world on a daily basis. However, Shamsud-Din has maintained his commitment to art, education, and work for the African American community and his home. This year, Shamsud-Din was recognized with Isaka Shamsud-Din Day, a Juneteenth celebration at Portland’s City Hall honoring his work as an artist and social justice leader. Curated by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art.
moment. Like other Triple Candie exhibitions, it seeks to turn our articles of faith back on themselves. Moreover, it asks us to reflect on how we define cultural progress, and what art can, or should, do today. ABOUT THE CURATORS:
BEING PRESENT: Revisiting, Somewhat Unfaithfully, Portland’s Most Experimental Art Experiment, the Portland Center for the Visual Arts NOVEMBER 16, 2019 – JUNE 14, 2020 Modern and Contemporary Art, Floor 4
From 1972 to 1987, the Portland Center for the Visual Arts (PCVA) was a major force in the Pacific Northwest, introducing progressive forms of contemporary art from around the country to Portland audiences. Temporary sitespecific installations by major, mostly New Yorkbased sculptors announced its early ambitions. Later, an impressive schedule of avant-garde performances signaled a turn toward a more socially inclusive model—one that, unfortunately, proved financially unsustainable. More than 30 years after its demise, this artistfounded organization remains an inspiration for both the art it brought to the area and the impact it had on this city’s cultural scene.
LEFT TOP: Bue Kee (American, 1893 – 1985), Self-Portrait, ca. 1930, oil on canvas, gift of Michael Parsons and Marte Lamb; LEFT: Isaka Shamsud-Din (American, born 1940), Hare, Lion, and Spider, 1967, oil on canvas, Museum purchase: Helen Thurston Ayer Fund, © Isaka Shamsud-Din; TOP: Courtesy of Triple Candie.
But PCVA’s mythology as a leading-edge organization in one of the country’s most liberal cities is paradoxical. The exhibitions that brought it national attention reflected the social biases of an art world that has long been less “progressive” than it has purported to be. Simultaneously, while Portland was being celebrated as a leader in urban planning—adopting urban growth boundaries and investing in bike trails and public transportation—it was engaged in the disinvestment in, and displacement of, its black and working-class communities. Given this layered context, how do we celebrate the PCVA’s extraordinary achievements while acknowledging that it bore some of the troubling qualities of its age? And in doing so, at what point do we risk falling victim to presentism, judging the past through currentday values and expectations? This unorthodox exhibition, curated by Triple Candie, delves into these issues. Comprising unfaithful sculptural objects, spatial interventions, animated videos, tapestries, and hand-drawn documentation—all fabricated by the curators themselves—plus quotes by witnesses to PCVA’s programs, Being Present is designed to transport viewers, if only partially and somewhat unfaithfully, to this bygone
Founded in Harlem by two University of Washington alumni (Shelly Bancroft and Peter Nesbett), Triple Candie is a phantom curatorial agency that produces exhibitions about art, but without art. Its exhibitions typically consist of what it calls “surrogates”—reproductions, unfaithful copies, fake documentation, stage sets, and other elements. Until 2010, Triple Candie presented these in its own space in Harlem. The New York Times described it as “Manhattan’s one truly alternative alternative space.” Since 2010, Triple Candie has been producing exhibitions and occasional performances across the U.S. and Europe. Recent projects include: If Michael Asher at the Grazer Kunstverein, Austria (2018-19); The Institute for Universal Uncertainties, Part II: Capitalism, Galerie Baumann and the Jindřich Chalupecký Society, Prague (2017); Kurt Varnedoe: In the Middle at the Modern, Telfair Art Museums, Savannah, Georgia (2017); Let the Artists Die (If They Want to) at NICC, Brussels (2014), James Lee Byars: I Cancel All My Works at Death (2014), and Of the Siren and the Sky: All That Which is at the Edges of Whatever Might Be [An exhibition about the fugitive artist Sky Jones] at Utah Museum of Contemporary Art, Salt Lake City. Surveys of Triple Candie’s curatorial practice have been presented at the Addison Gallery of American Art, Andover, Massachusetts (2017), and Frac Île-de-France/Le Plateau, Paris. Today, Triple Candie is based in Washington, D.C. Being Present is curated by Triple Candie, in collaboration with Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. Funding provided through the Miller Meigs Endowment for Contemporary Art.
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COMING SOON Spring 2020
Summer 2020
VOLCANO! Mount St. Helens in Art
FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM
FEBRUARY 8 – MAY 24, 2020
Marking the 40th anniversary of the eruption of Mount St. Helens, this exhibition explores the overwhelming power of nature and the epic cycles of volcanic destruction and regeneration with stunning photographs, paintings, and drawings of the mountain from 1845 to the present day. Beginning with the earliest known images—made by European explorers H.J. Warre and Paul Kane in the 1840s—the show will include paintings, drawings and photographs that trace the mountain’s geological evolution, and its changing significance for local peoples, until the present day.
JUNE 13 – SEPTEMBER 27, 2020
ART AND RACE MATTERS The Career of Robert Colescott FEBRUARY 15 – MAY 17, 2020
The first comprehensive retrospective of one of America’s most compelling and controversial artists, Art and Race Matters traces the work of Robert Colescott (1925–2009), who established his career in Portland with the support of gallery owner and philanthropist Arlene Schnitzer, then made his mark in the 1970s with a series of deconstructed art-historical masterpieces that challenged taboos around racial stereotyping. After the eruption of Mount St. Helens on May 18, 1980, local ceramicists and glass artists gathered the abundant ash to use in their works. Emmet Gowin, Frank Gohlke, Marilyn Bridges, and other photographers concentrated on a new kind of beauty that bore evidence of nature’s awesome destructive power—and its power to regenerate. Curated by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.
Organized by Lowery Stokes Sims, a longtime Colescott scholar, and Raphaela Platow, Director and Chief Curator at the Contemporary Arts Center, Cincinnati, with assistance from Matthew Weseley. This exhibition is sponsored in part by The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer/Jordan Schnitzer and the Exhibition Series Sponsors.
LEFT: Henk Pander (American, born The Netherlands, 1937), Eruption of Saint Helens from Cable Street, 1981 (a.k.a. View of Portland), oil on linen, City of Portland, courtesy of the Regional Arts and Culture Council, © Henk Pander; CENTER: Robert Colescott (American, 1925-2009), Beauty Is in the Eye of the Beholder, 1979, acrylic on canvas, 84 in x 66 in, Gift of Arlene and Harold Schnitzer in honor of Brian Ferriso, © Robert Colescott; RIGHT: Frida Kahlo, Diego on my Mind, 1943, oil on masonite, courtesy of the Jacques and Natasha Gelman Collection.
Internationally beloved artists Frida Kahlo (1907–1954) and Diego Rivera (1886–1957) played a crucial role in defining and establishing the avant-garde cultural movement in Mexico in the early 20th century. Their famously stormy marriage reflected their diverging artistic styles: While Rivera’s art projected itself outward, often in vast murals, and concerned itself with the construction of a national identity in postwar Mexico, Kahlo’s turned inward and represented mexicanidad through an exploration of her personal identity. The exhibition will feature many of Kahlo’s most famous self-portraits and rarely seen oil paintings by Rivera, as well as works by other icons of Mexican modernism. Coordinated for Portland Art Museum by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. This exhibition is sponsored in part by The Harold & Arlene Schnitzer CARE Foundation/ Arlene Schnitzer/Jordan Schnitzer, The Standard, Ferguson Wellman, and the Exhibition Series Sponsors.
NEWS & NOTEWORTHY
of an exhibition and symposium. Also reflecting her commitment to access and scholarship, Graybill played an integral role in the Museum’s receipt and implementation of a 2017 Institute of Museum and Library Services grant. The Japanese Print Initiative, currently in its second year, creates online access to the Museum’s collection of almost 3,000 traditional and modern Japanese prints, books, and portfolios.
MARIBETH GRAYBILL, CURATOR OF ASIAN ART, RETIRES AFTER DISTINGUISHED CAREER The Museum has announced the retirement of Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art. Dr. Graybill will retire at the end of October, after 12 years with the Museum. Dr. Graybill retires from a distinguished career that culminated with Poetic Imagination in Japanese Art: Selections from the Collection of Mary and Cheney Cowles, the fall 2018 exhibition that led to a major gift from the Cowles collection and included an international symposium and catalogue. Dr. Graybill’s expertise in Asian art allowed her to elevate the Museum’s important collection, especially in the areas of Japanese ceramics and prints, during her tenure. She also oversaw growth, scholarship, and research in all areas of the Asian art department, including the addition of two grant-funded Asian art curatorial positions. “Maribeth’s passionate and meticulous stewardship of our Asian art collection has been transformational to this institution,” said Portland Art Museum Director and Chief Curator Brian Ferriso. “Her experience in Japanese prints further cemented our collection
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as one of the premier collections on the West Coast, and her commitment to furthering scholarship on our entire Asian art collection is exceptional. I am grateful for her dedication and leadership. It has been an honor to work with her.” Dr. Graybill was responsible for the acquisition, display, and interpretation of the Museum’s collection of Asian and Islamic art. During her time at the Museum, Dr. Graybill curated and organized more than 20 important exhibitions, including last year’s Poetic Imagination in Japanese Art: Selections from the Collection of Mary and Cheney Cowles; The Artist’s Touch, The Craftsman’s Hand: Three Centuries of Japanese Prints from the Portland Art Museum (2011); and Samurai! Armor from the Ann and Gabriel Barbier-Mueller Collection (2013). Over 12 years, she oversaw the acquisition of nearly 1,300 works of art. Dr. Graybill led a significant cultural moment for the Museum—the repatriation of the Five Buddhas painting to Korea in 2016. Prior to its repatriation to Songgwangsa monastery, the 18th-century Buddhist painting was the subject
“The arc of my career has taken me across North America and to both sides of the Pacific. Landing in Portland was not something I could have predicted, but the Portland Art Museum has been the perfect place to put into use my experiences of decades of teaching, curatorial work, and travel,” said Graybill. “The challenge of looking after the entire Asian collection presented ever-fresh challenges and opportunities. What made it all fun and rewarding was the constant encouragement from Brian Ferriso, the camaraderie of colleagues, and the professionalism of everyone on the Museum staff, as well as the warm support of collectors and donors, including the Asian Art Council. My deepest thanks to you all.” Dr. Graybill will give a final lecture on October 20 followed by a farewell reception, and her last day will be October 31.
Japanese Art: Curator’s Choice
Luo Jianwu (Chinese, born 1944), Rock Like a Cloud, 2006–2010, ink on paper, 103 x 26 1/4 inches, Museum Purchase: Funds provided by Suzanne and Alex Rosenkrantz by exchange.
Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art, will be retiring at the end of October 2019 after 12 years at the Museum. In these pages, she shares with all some of her favorite acquisitions. Many of these will be on view in the galleries this fall. “Choosing favorite acquisitions is like having to choose a favorite cat!” said Graybill. “I would really need every page of Portal to show works that moved, amused, and delighted me over the years. It has been such a privilege to work with these objects—and Museum audiences.”
In this monumental painting, designed to be hung either vertically or horizontally, Luo portrays a hybrid object, partly modeled on the fantastic stones of Lake Tai in southern China, and partly on an amorphous, ephemeral cloud.
Onchi Kōshirō (Japanese, 1891–1955), Impression of a Violinist: Portrait of Suwa Nejiko, 1947, color woodblock print, image: 16 x 13 1/8 inches; sheet: 21 3/8 x 15 1/4 inches, Gift of Donald L. and Dolores E. Williams, © Heirs of Onchi Kōshirō. This is one of the most famous print designs by Onchi Kōshirō, a pivotal figure in the history of 20th-century printmaking in Japan. The donor of this work, Donald Williams, was in Japan briefly as part of the American Occupation forces. Having heard about Onchi, he visited the artist’s studio and bought the work directly from him.
Japan, unknown artist, Negoro Ware Ewer for Hot Water, 17th century, turned wood with black and vermillion lacquer, 15 x 9 1/2 x 5 inches, The John Yeon Collection; Gift of Richard Louis Brown. Richard Brown has been a most generous donor of Asian decorative arts. This ewer, made for use in a Buddhist monastery for hot water for tea, incorporates some elements of Chinese design, but the beauty of the harmony between mass and void is uniquely Japanese.
Fujikasa Satoko (Japanese, born 1980), Flow #1, 2011, stoneware with white matte slip, 26 1/8 x 27 x 23 1/8 inches, Museum Purchase: Funds provided by The Asian Art Council, © Fujikasa Satoko. In 2013, when the Museum acquired this dynamic ceramic sculpture, Fujikasa was just at the point of being “discovered.” She builds her pieces by hand, through the ancient process of coiling and pinching.
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KOREAN SCREENS RETURN FROM CONSERVATION IN SEOUL Two of the most important works in the Museum’s Korean collection, the embroidered screens Birds and Flowers, Sun and Moon and Subok Screen: Characters for Longevity and Good Fortune in Various Scripts, have just returned to Portland after two years of conservation in Korea. This project was made possible through the support from the Korean Galleries Overseas Support Program of the National Museum of Korea (NMK). Both screens, which were housed at the NMK conservation studio since April 2017, were originally part of the Robert and Sandra Mattielli collection. The Mattiellis are avid enthusiasts of Korean art and culture, after living in Seoul for more than three decades. Major donors to the Museum, they are deeply respected in Korea for having voluntarily repatriated one of their masterpieces, Five Buddhas, to Songgwangsa Monastery in 2016. The improvement to the screens is readily apparent. One of the screens, Birds and Flowers, Sun and Moon, came to the Museum as a pair of four-panel folding screens. Scholars on the curatorial team at NMK determined that it was originally a single eight-panel screen, and that the individual images had gotten out of order. When the screens were disassembled, conservators found a newspaper dating to 1970 used as interior padding, revealing the date of the most recent remounting. The NMK
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conservators built an entirely new frame for the screens, unifying the composition in the right order, and created a Korean-style mounting with small “feet” on the bottom of the frame. The Subok screen, a tall 10-panel embroidered screen, was also cleaned and remounted in the late-19th-century style. Given the exceptional height of this work and the sophistication of its design, NMK scholars believe it was made by the royal court workshop. There are no comparable examples in North American collections, and the design is unusual even among embroidered screens in Korea. In early July 2019, after the conservation work was complete, the screens were put on display at the National Museum of Korea to share the results of the conservation project with the Korean public. There are no qualified conservators in the United States who could have done this work, so the Museum is especially grateful to the NMK for their generosity and expertise. Thanks to their efforts, these screens have been restored to their historically authentic mounting styles and will be here to delight Portland audiences for decades to come. Special thanks to Sangah Kim, who recently completed her tenure as Cowles Curatorial Fellow in Asian Art, for her work to bring about this conservation. ABOVE: Korea, unknown workshop, Sun and Moon, Birds and Flowers, late-19th century, eight-panel screen; silk embroidery on silk ground, Museum purchase: Funds provided by Mia Hervin Moore in honor of her granddaughter, Amelia Sun Moore, After conservation; BELOW: Sun and Moon, Birds and Flowers (detail): Before conservation.
RENTAL SALES GALLERY CELEBRATES 60 YEARS BY JENNIFER ZIKA, RENTAL SALES GALLERY DIRECTOR
This year the Rental Sales Gallery (RSG) celebrates 60 years in operation and will honor the support and dedication of countless member artists, volunteers, and patrons with a series of events kicking off in October. Our Fall Show and Diamond Anniversary Celebration will open in the RSG on Saturday, October 19, from noon to 7 p.m., with artist talks, more than 200 new works, and a champagne toast to one of Portland’s true treasures. As we reflect on the years, the people, and all the moving parts that have brought about the successes we share, it’s important to note a little history in tribute to those who have made it possible. In 1957, the Museum’s Women’s Council, a group of Museum volunteers, set forth to provide a sales, rental, and exhibition venue that would generate income for both Oregon artists and the Museum, as well as attract new
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Museum members. Modeled after the success of the San Francisco Museum of Modern Art Artists Gallery founded in 1948, the RSG opened its own doors on November 9, 1959, in the basement of the Museum. Prominent artist members included painters Louis Bunce, Robert Colescott, Byron Gardner, Sally Haley, Carl Morris, and Michele Russo, to name a few. Sculptors included James Lee Hansen, Tom Hardy, Manuel Izquierdo, and Frederic Littman. George Johanson, who would later lead the Museum Art School’s printmaking department, joined in the early years showcasing his woodcuts and etchings. He stills shows his paintings with the Gallery today. “We all welcomed the Rental Sales Gallery,” he said of those early days. “From the beginning, it set high standards.” The RSG has shown artwork in four different locations over time, including three in the Museum, and its current space on Southwest 10th Avenue at Jefferson Street. The Gallery showcases original art in various media from 238
Oregon and Washington artists, and all work is for rent or sale. Contributing to the success and longevity of the RSG, more than 80 dedicated volunteers help with the day-to-day activities. Their service and enthusiasm for supporting local art is invaluable. As gallery director, I have overseen several changes in my 19-year tenure, now assisted by newcomer Mark Tindle, the Gallery Supervisor. Together and on behalf of our members and staff, we thank our patrons for 60 wonderful years. We endeavor to continue our mission of serving the community and art collectors, supporting regional artists and connecting visitors to the Portland Art Museum. Renting art from the Rental Sales Gallery is one of the many perks of Museum membership. Visit rentalsalesgallery.com to browse our inventory, and please join us for the festivities!
“I have been honored to serve with Janet on PAM’s board of directors for the past 25 years and have seen firsthand her leadership skills as exemplified by her time as board chair,” said Board Chair Pat Ritz. “Janet’s and Dick’s extensive financial support of building campaigns, endowments, and significant support of our exhibitions year after year also contribute to making the Life Trustee award most deserved.” The Gearys’ lifetime giving makes them among the top supporters in the history of the Museum, and includes the endowment of The Janet and Richard Geary Curator of European Art. They were significant contributors to the North Wing Capital Campaign and the Project for the Millennium, and Janet Geary provided the initial funds to plan for the Rothko Pavilion. The Gearys supported major exhibitions including Monet: Late Paintings of Giverny from the Musée Marmottan (1997); The Quest for Immortality: Treasures of Ancient Egypt (2006); Gods and Heroes: Masterpieces from the École des Beaux-Arts, Paris (2015); Venice: The Golden Age of Art and Music (2013); and Paris 1900: City of Entertainment (2019). Geary has generously supported the acquisition of art for the Museum’s collection, including Felipe Diriksen’s Portrait of Infanta María Ana de Austria, and has committed to donating additional significant works by artists such as Pissarro, Renoir, and Morisot from her personal collection.
JANET GEARY APPOINTED LIFE TRUSTEE The Portland Art Museum is honored to announce Janet Geary as a Life Trustee. Geary and her late husband Dick have been dedicated leaders and supporters for nearly 30 years. With this appointment, Geary joins a distinguished group of individuals, including Arlene and the late Harold Schnitzer, Nani Warren, Laura Meier, and the late Mary and Pete Mark, whose leadership has made a significant
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impact, altering the trajectory of our Museum in unprecedented ways. Geary has served more than seven terms as a Museum Trustee, including two years as Board Chairman and two years as Chair of the Governance Committee. She has also served on a number of board subcommittees, including Collections, Finance, and Governance.
“I am thrilled to be recognizing Janet’s dedication to this institution,” said Portland Art Museum Director Brian Ferriso. “She is so deserving of this honor, and I am grateful for her and Dick’s vision and investment in our mission. Janet leads through example and uplifts all those around her, and I look forward to working on more important projects with her.”
NORTHWEST FILM CENTER
MEET AMY DOTSON The incoming Director of the Northwest Film Center looks to the future of storytelling. BY MARC MOHAN
Since its founding in 1971, the Northwest Film Center has experienced it share of changes. Its name has changed (originally it was the Northwest Film Study Center), its exhibition venues have changed (goodbye, Guild Theatre; hello, Whitsell Auditorium), and its status has changed (the Film Center became affiliated with the Portland Art Museum in 1979). Over its nearly half-century existence, though, the institution has arguably never faced as momentous shift as it does now. In May, it was announced that Amy Dotson had been selected as the Film Center’s new Director, as well as the Curator of Film and New
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Media for the Portland Art Museum. Dotson takes over for Bill Foster, the Film Center’s longtime head and a nearly ubiquitous presence since its early days. Dotson is uniquely qualified to continue the twinned missions of exhibition,
education, and outreach that were Foster’s passion, while positioning the Film Center for a starring role in Portland’s artistic community as the art, craft, and science of cinema continue to evolve.
Dotson served as the Deputy Director and Head of Programming for the New York-based Independent Film Project (IFP) for the past 13 years. In that position, she helped to cultivate the careers of filmmakers including Barry Jenkins and Adele Romanski (Moonlight), Dee Rees (Mudbound), Jennifer Fox (The Tale), and Boots Riley (Sorry to Bother You). She also has had a front-row seat to the technological changes that have revolutionized film-based storytelling in recent years.
story brain and my group leader brain to bring everybody into this brave new world.”
years ago, I’d like to think that they would have, but…things have changed quite a lot.”
This multidisciplinary approach and focus on new media is sure to influence the direction of the Film Center, and it’s a culture Dotson has been steeped in for years. “IFP is really a place where storytelling and tech combine,” she said. When Dotson arrived there 13 years ago, she says, it was a pretty traditional, feature-filmfocused institution. She described the process of learning to use new technologies as “like
Part of the challenge in Dotson’s new job will be attracting audiences in a world that seems to be drowning in entertainment options. “How do we create something that is interesting and has enough of a twist to it to convince people to leave their homes?” asked Dotson. “A lot of the questions that we’ll be talking about in the coming months involve who is the audience we have and how do we continue to engage them, who are new audiences that we want to reach, and how do we make this experience inclusive? The Film Center has been built on nearly 50 years of incredible programming and incredible education programs, and has been a vital player in the Portland community. How do we extend that beyond those borders?”
It has probably been my greatest joy to support filmmakers who might not otherwise be heard. In early July, I spoke to Dotson, who had just returned from the Venice Biennale, where she has worked for the past eight years with a program that provides funds for emerging feature filmmakers. “It’s now branched off into virtual reality and augmented reality, which is really just a new way to tell stories in multiple dimensions,” she explained, describing the experience as “using my producer brain and my
coloring with the wrong hand with a crayon right now. There are not a lot of rules yet.” “The expansion of what storytelling means includes who gets to tell the story,” she continued. “It has probably been my greatest joy to support filmmakers who might not otherwise be heard. I’ve supported a number of todays multifaceted storytellers who have come out and found wide audiences, whereas thirteen
Marc Mohan reviewed films for The Oregonian for nearly 20 years. His writing has also appeared in the Portland Mercury and Oregon ArtsWatch.
LEFT: Amy Dotson, Northwest Film Center Director and Curator of Film and New Media, with filmmakers Barry Jenkins (second from left) and Adele Romanski (second from right) at IFP Week 2017.
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JULIA REICHERT RETROSPECTIVE JANUARY 2020
In January, we present a retrospective of legendary documentarian Julia Reichert, whose films about American labor, gender, and struggle have been a crucial intervention in the documentary field. Since the early 1970s and her founding of New Day Films, Reichert has forged an unconventional filmmaking path, through films like Growing Up Female, Seeing Red, The Last Truck, and her latest, the Sundance-award-winning American Factory. Julia Reichert in attendence opening weekend.
ABBAS KIAROSTAMI RETROSPECTIVE SEPTEMBER – OCTOBER 2019
Continuing in October is a career retrospective of Abbas Kiarostami (1940-2016), the great and dearly missed Iranian filmmaker whose self-reflexive, poetic films have influenced generations of filmmakers worldwide. The retrospective is mostly composed of new restorations, including some films long unavailable—notably, his legendary Koker trilogy of the late 1980s and early 1990s, plus many shorts from Kiarostami’s time at Tehran’s Institute for the Intellectual Development of Children and Young Adults in the 1970s.
WEEKEND ENGAGEMENTS
REEL MUSIC 37
ONGOING
Since the introduction of sound to motion pictures in 1927, music has been an indispensable part of the film experience, spawning entire genres of documentary and inflecting countless narrative films with vibrant soundtracks. Our annual Reel Music festival, now in its 37th year, brings the most cuttingedge music films to Portland, most for their premiere screening in the city. Covering a wide range of musical styles and historical periods, Reel Music offers something for fans of all types of music and film. The full Reel Music lineup will be announced in mid-December.
In the Portland filmgoing landscape, many firstrun films are released each year, but typically many more (extremely worthy) films are passed over by the chain and independent cinemas on a regular basis. As such, the Film Center has moved into first-run exhibition via our Weekend Engagements series, which presents new films and restored classics for several screenings on weekends throughout the year. In part an extension of our Portland International Film Festival, the series is chock full of cinematic surprises and work ripe for discovery. You never know when you might catch your new favorite film!
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JANUARY – FEBRUARY 2020
NORTHWEST FILMMAKERS’ FESTIVAL JOINS PIFF MARCH 5 – 19, 2020
Starting this year, our long-standing regional film festival, which focuses on film art from Oregon, Washington, Idaho, Montana, B.C., and Alaska, will integrate with Oregon’s largest film event, the Portland International Film Festival. Filmmaker support is at the core of the Film Center’s mission, and this merger will allow us to both elevate regional work through a larger stage and create opportunities for dialogue between regional and global filmmakers.
The Traveler (still), 1974, Directed by Abbas Kiarostami.
MEMBERS & PATRONS
HANK WILLIS THOMAS: ALL THINGS BEING EQUAL… Benefit Dinner & Opening Party with the Artist OCTOBER 12
Celebrate the opening of our fall exhibition Hank Willis Thomas: All Things Being Equal… at an outdoor reception and dinner with special entertainment, followed by an opening party. Open to the public; all ages welcome. Tickets to the dinner are $250 per person (includes party). Tickets to the Opening Party are $5$20 sliding scale entry. All proceeds benefit the exhibition’s community programs. For more information, visit pam.to/hwt-celebration.
Open to All Members 127TH ANNUAL MEETING AND MEMBERS OPEN HOUSE NOVEMBER 1, 5:30–8:30 P.M.
PATRON EVENTS
Patrons are among the Museum’s most generous annual donors and experience a shared connection to the Museum enhanced by a host of offerings that bring art into daily life. To learn more about the Patron Society and any of the opportunities listed below, contact Brianna Hobbs at 503-276-4312 or brianna.hobbs@pam.org.
PATRON HOLIDAY PARTY NOVEMBER 20
Join us for a private lecture and viewing of The Art of Reading: American Publishing Posters of the 1890s with Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings. We will enjoy light refreshments and seasonal hors d’oeuvres with an additional opportunity to find the perfect holiday gifts for family, friends, and more at the Museum Shop.
Save the Date: OPENING RECEPTION Art and Race Matters: The Career of Robert Colescott & Volcano! Mount St. Helens in Art FEBRUARY 14
Save the date for a rare opportunity to join us for the opening reception of two major exhibitions.
127TH ANNUAL MEETING 5:30 P.M.
Whitsell Auditorium Vote for Museum leadership and hear about upcoming exhibitions, plans, and programs in the year ahead. The Annual Meeting is free and open to all Members; however, space in the Whitsell Auditorium is limited. Admission to the Annual Meeting is available at the door on a first-come, first-served basis, so plan on arriving early to ensure admittance. MEMBERS OPEN HOUSE 5:30 – 8:30 P.M.
Help us celebrate our fall special exhibitions with an interactive, members-only evening exploring the galleries and engaging with our collections and special exhibitions. Tours, activities, and more! Watch your inbox for your email invitation for more details.
To stay updated with Patron Society Events, please visit pam.to/patron-events 24 PORTLAND ART MUSEUM
Hank Willis Thomas (American, born 1976), We The People, 2015, Quilt made out of decommissioned prison uniforms, © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York.
MEMBER EVENTS MEMBERS MARKETPLACE All Members Welcome SATURDAY AND SUNDAY, DECEMBER 7–8 10 A.M. – 5 P.M.
Mark Building, Miller Gallery Join us for the Museum Store’s annual exclusive Members Shopping Weekend sale, where members at all levels will save 30 to 50 percent on a large selection of specially purchased merchandise from our regular vendors and store markdowns—more room to shop and better deals than ever! Saturday and Sunday only. Admittance to Marketplace is for members only. All sales final. Prices as marked; no additional discounts. Discount of 30 to 50 percent applies only to merchandise in the Members Marketplace.
MEMBER/ CURATOR MEET-UPS Come learn about our exhibitions from the inside out! Curators will share insights with members at these quarterly members-only talks. Members will deepen their understanding of exhibitions and get to know our curatorial team in the process. Space is limited; advance reservations required. A separate email invitation will be sent for each meet-up date; watch your email a few weeks prior to the date of the meetup to reserve tickets. NOVEMBER 16, 10 A.M. Julia Dolan and Sara Krajewski on Hank Willis Thomas: All Things Being Equal… *Tickets may be sold out by time of Portal distribution. FEBRUARY 15, 10 A.M. Dawson Carr on Volcano!
FRIEND LEVEL FRIDAY Open to Friend level ($150) and above members DECEMBER 6, 10 A.M. – 8 P.M.
Museum Store Friend and above level members receive an additional 10 percent (20 percent total) on all regular-priced merchandise in the Museum Store.
MORE DATES TO BE ANNOUNCED.
VISITING THE MUSEUM AS A MEMBER General Museum admission is FREE for members (a savings of $20 per ticket) as well as for many lectures and special events. *Current membership card and photo identification will be required for entry on the day of your exhibition visit. Member tickets are limited to the named individuals on your membership cards. The Museum also offers many popular lectures and special events at free or reduced cost to members. Please note that because space is limited, advance ticket reservations for lectures and special events are highly recommended.
How to reserve tickets with free or reduced admission as a member: Online: Sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added tickets to your shopping cart and proceeded to the checkout. Remember to print your e-ticket and present it at the Museum for entry. Onsite: Visit the Museum’s box office in advance of the event or lecture with your membership card(s).
Do we have your email address? Don’t miss out! Register online to receive our electronic notifications and monthly e-news. Sometimes special member opportunities become available on short notice. When this happens, the only way for us to quickly communicate with you is via email. Visit portlandartmuseum.org and never miss another announcement. Questions about your membership status? Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs.
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SUPPORTER SPOTLIGHT The Collins Foundation For more than five decades, The Collins Foundation has provided significant support to the Portland Art Museum. These gifts have been instrumental in fostering the Museum’s growth and responsiveness to community needs, as well as advancing our mission and vision. The Foundation has a long history of investment in rural and urban Oregon-based nonprofits that are dedicated to improving the quality of life and well-being for the people in their communities. The Collins Foundation was built in part through the vision and guidance of philanthropist, community leader, and champion for the arts Maribeth Collins (19182017). Her leadership helped transform the entire cultural sector in the Pacific Northwest. She believed in the power of museums to build community and serve as an asset for all Oregonians. “The arts were always important to my mother,” said Truman Collins Jr., Maribeth’s
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son and current Foundation President. “The investments that she made personally and that were made by The Collins Foundation in cultural institutions across our region were rooted in her belief that art is essential to the human experience. The Portland Art Museum has been an important partner in the Foundation’s work.” The Foundation’s grantmaking to the Museum is a testament to Maribeth’s passion for the arts. Over many years, the Foundation has made grants not only to support the Museum’s vital exhibitions and programs, but also to important infrastructure and capital improvement initiatives. This combination of programmatic and operational support has helped the Museum grow both in artistic and operational impact. The Collins Foundation recently awarded a $50,000 grant to support Hank Willis Thomas: All Things Being Equal…. “We envision an
Oregon where people and communities have access to a rich variety of arts and cultural expressions,” said Cynthia Addams, Chief Executive Officer of The Collins Foundation. “This exhibition, which heightens our awareness and confronts critical social issues, is an important contribution to that vision. We value our long history with the Portland Art Museum, and we are pleased to join with others in supporting this vital and timely exhibition.” Continued support from institutions such as The Collins Foundation is essential in ensuring the Museum continues to provide access to its collections for all Oregonians. “We are grateful for the generosity of The Collins Foundation over the years, and look forward to continuing to partner with a wide variety of funders to advance our mission and our own institutional commitment to equity and inclusion,” said Museum Director Brian Ferriso. Hank Willis Thomas (American, born 1976), Die Dompas Moet Brand! (The Passbook Must Burn!) (detail), 2013. Bronze and copper shim, dimensions variable, Installation view, Courtesy of the artist and Jack Shainman Gallery, New York, © Hank Willis Thomas
PROGRAMS & ACTIVITIES
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OPENING CONVERSATION
Hank Willis Thomas in Critical Conversation OCTOBER 10, 6 P.M. DR. DERRAIS CARTER, ASSISTANT PROFESSOR OF GENDER AND WOMEN’S STUDIES AT THE UNIVERSITY OF ARIZONA DANIELLE MCCOY, WIEDEN + KENNEDY RAGEN FYKES, WIEDEN + KENNEDY HANK WILLIS THOMAS, ARTIST
Join this wide-ranging dialogue to kick off the opening of All Things Being Equal…, a survey by Hank Willis Thomas. Moderated by Dr. Derrais Carter, this discussion dives into the complexities between visual culture, racial icons, branding, and language. Using Thomas’s art practice as a foundation, this conversation unfolds into the expansive terrains of advertising, media, history, and their shifting relationships to Blackness. Presented in partnership with We+Black—A Weiden + Kennedy collective for the Black Diaspora. Established to enhance the Black experience, encourage equality, celebrate each other, strengthen our community, and share our diverse culture. IN-KIND SPONSOR: Look Modern. LEFT: Hank Willis Thomas (American, born 1976), The Cotton Bowl, from the series Strange Fruit, 2011. Digital c-print, © Hank Willis Thomas, courtesy of the artist and Jack Shainman Gallery, New York; RIGHT: Hank Willis Thomas (American, born 1976), Promise, 2016, fiberglass and chameleon auto paint, © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York; Kimberly Drew photo credit: Travis Matthews.
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Arnold Newman Distinguished Lecturer in Photography KIMBERLY DREW, WRITER, CURATOR, ACTIVIST DECEMBER 12, 6 P.M.
Join Kimberly Drew for a discussion of photography’s central role in Hank Willis Thomas’s work, and a consideration of the medium’s historical and new uses in the popular press, advertising, and social media. Drew received her B.A. from Smith College in Art History and African-American Studies, and she first experienced the art world as an intern in the Director’s Office of The Studio Museum in Harlem. Her time there inspired the Tumblr blog Black Contemporary Art and sparked her interest in social media. Drew’s writing has appeared in Vogue, Glamour, W, Teen Vogue, and Lenny Letter, and she has executed Instagram takeovers for Prada, The White House, and Instagram. Drew recently left her role as the Social Media Manager at The Metropolitan Museum of Art. She is the author of two books, Black Futures, which she is co-editing with Jenna Wortham, and This Is What I Know About Art. Both books are due in 2020. You can follow Drew at @museummammy on Instagram and Twitter. Sponsored by the Arnold & Augusta Newman Foundation
HANK WILLIS THOMAS FILM SERIES SELECT SUNDAYS In Dialogue For these screenings in conjunction with All Things Being Equal..., artist Hank Willis Thomas has selected a wide-ranging series of films that grapple with mass media, race, and representation in the contemporary United States. “These films impacted my life and whole understanding of the power of art to shape our notions of the truth and therefore reality.” —Hank Willis Thomas. Free to Members or with Museum admission. OCTOBER 13, 2 P.M.
They Live
OCTOBER 27, 2 P.M.
James Baldwin—The Price of the Ticket NOVEMBER 3, 2 P.M.
A Litany for Survival: The Life and Work of Audre Lorde (90 mins); followed by In Dialogue program NOVEMBER 10, 1:30 P.M.
The Corporation
This In Dialogue series will facilitate discussions in relation to the Hank Willis Thomas film series. Immediately following the screenings below, we will engage in group conversation that takes inspiration from the themes and topics raised within the selected films. Space is limited. Registration required. Space is limited. Registration required. NOVEMBER 3, 2019
A Litany for Survival: The Life and Work of Audre Lorde FILM SCREENING: 2 P.M. IN DIALOGUE: 3:30 P.M. DECEMBER 1, 2019
Life and Debt
FILM SCREENING: 2 P.M. IN DIALOGUE: 3 P.M. JANUARY 12, 2020
An Oversimplification of Her Beauty
NOVEMBER 17, 2 P.M.
FILM SCREENING: 2 P.M.
DECEMBER 1, 2 P.M.
In Dialogue is an occasional, interdisciplinary, discussion-based series that explores art on view at the Museum in relation to works in the humanities, social sciences, and sciences.
Koyaanisqatsi
Life and Debt (80 mins) followed by In Dialogue program DECEMBER 14, 1:30 P.M.
Malcolm X: Make it Plain DECEMBER 15, 2 P.M.
IN DIALOGUE: 3:30 P.M.
COMMUNITY PARTNER PROGRAMS The Numberz / Live Broadcast NOVEMBER 7, 5 – 8 P.M.
Join DJ Ambush of The Numberz (96.7 FM) in thinking about contemporary Black art through the sounds of Black music, past and present. Through both live broadcast and a DJ set, this program will curate a soundtrack to All Things Being Equal…. The program will take place in the Community Partners in Residence space within the exhibition.
Don’t Shoot Portland / Printmaking Workshop NOVEMBER 22, 5 – 8 P.M.
Celebrate Black Power with Don’t Shoot Portland at this printmaking workshop! Using tactile studio skills and the spirit of direct action, this partner program will provide an opportunity to make tote bags, T-shirts, and posters that visually explore justice, activism, and resilience. For information on additional community partner programming throughout the exhibition, please visit portlandartmuseum.org
American Revolutionary JANUARY 5, 2 P.M.
Eternal Sunshine of the Spotless Mind JANUARY 12, 2 P.M.
An Oversimplification of Her Beauty (84 mins) followed by In Dialogue program
ACCESSIBILITY The Portland Art Museum is pleased to offer
UNLESS OTHERWISE NOTED, ALL
accommodations to ensure that our programs are
PROGRAMS ARE FREE FOR MEMBERS.
accessible and inclusive. Please email a request to
SPACE MAY BE LIMITED. ADVANCE
access@pam.org, or call 503-226-2811 at least two
TICKETS ARE RECOMMENDED AND
weeks in advance.
AVAILABLE ONLINE OR ON-SITE.
ADDITIONAL PROGRAMS
ONGOING PROGRAMS
OCTOBER 20, 2 P.M.
Artist Talks is an unfixed and broad platform for Portland-based artists to use their voices, diverse practices and knowledge to facilitate community engagement about works on view in the galleries. This program takes place on the third Thursday of every month and is followed by a complimentary social hour in the Museum café.
Asian Art in Portland: Past and Future MARIBETH GRAYBILL, PH.D., THE ARLENE AND HAROLD SCHNITZER CURATOR OF ASIAN ART
Dr. Graybill looks back at 12 years of curating Asian Art at the Museum, reflecting on key moments. She will share her favorite acquisitions and memories of special programs, including artist talks and the festivities surrounding the repatriation to Korea of an important Buddhist painting. After revealing how behind-the-scenes activities have transformed the way the Museum cares for Asian art, she will consider some of the possibilities and challenges that lie ahead.
Community Celebration Día de Muertos NOVEMBER 2, 2–9 P.M.
Día de Muertos (Day of Dead) is a Mexican celebration of life to remember deceased loved ones. This year’s festivities will take place throughout the Mark Building and will highlight the diversity within our Mexican communities and how Day of Dead brings people together to celebrate in their own way. Culture, gastronomy, altars, performances, and more! Organized in partnership with lead organizer Maria Garcia, a downtown business owner and Mexican cultural promoter. The exhibition of altars is curated by Eduardo Cruz, a local Mexican artist and performer.
Artist Talk Series
Program begins at 6 p.m. $5 members, $20 non-members, $17 seniors. Space is limited. Tickets available online or on site.
SHARYLL BURROUGHS
MELANIE STEVENS
OCTOBER 17
DECEMBER 19
Sharyll Burroughs is a multidisciplinary artist and dialogue facilitator who is interested in transcending conventional beliefs about what identity means. She utilizes Buddhism, along with the practice of selfinquiry, to explore identity beyond racial, cultural, and societal definitions, an unorthodox approach that cultivates dialogues embodying our common humanity. Her work has been featured in solo and group exhibitions in Los Angeles and in Portland, where she now resides.
Melanie Stevens is an artist, illustrator, and writer. She is the creator of the graphic novel series WaterShed and is the co-founder of Nat Turner Project, a migratory gallery space that grants artists of color the freedom to create or express their own language within and without the parameters of racial commodification or designation. She is also the cofounder of Miss Anthology, an organization that supports and publishes racially and economically diverse young comic artists who identify as LGBTQIA+ or female.
RUBÉN GARCIA MARRUFO
MAXIMILIANO
NOVEMBER 21
JANUARY 16
Rubén garcía marrufo is a Mexican filmmaker and artist. Their work focuses on borders, their aftermaths, and bilinguality—a work that finds its place between fiction and documentary forms with narratives that are rooted in hearsay and multiple languages. They have produced both feature-length, short, and experimental films that have been exhibited in Mexico and the US, including work presented at Artists Space, abcontemporary, Kunstverein, Escritorio de Procesos, Echo Park Film Center, and Mexicali Rose.
Maximiliano is a performance & video artist using maroon space societies & systems billions of years ago as impetus of a black mythos-epoch. Sampling & rupturing audio & video spatially, forming BLKWVV aesthetic (black reclamation rococo) unMOORing (othellx) mulattidad; ideas of pre-earth blackness.
UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.
Baby Morning
Midday Art Break
Art & Conversation
FIRST THURSDAYS OF THE MONTH,
SECOND WEDNESDAYS OF THE MONTH
THIRD TUESDAYS OF THE MONTH
10 A.M. – 12:30 P.M.
12:30 P.M.
OCTOBER 3, NOVEMBER 7, DECEMBER 5,
OCTOBER 9, NOVEMBER 13, DECEMBER 11,
JANUARY 2
JANUARY 8
We welcome babies and their caregivers beginning at 10 a.m. The first tour will begin at roughly 10:30 a.m., or when we have a large enough group ready to go. The second tour will begin at 11:00 a.m. Baby Morning’s home base remains open until 12:30 p.m. with toys, games, and books, providing a welcoming, accommodating space free of worries. Caregivers are also welcome to leave belongings here while on the tour. Carriers are recommended while in the galleries, but not required.
Take a break from your workday and join a curator, museum educator, artist, or local scholar for a 45-minute talk in the galleries. Please visit the Museum website to learn more about upcoming topics. Space is limited. Advance tickets recommended. Program departs from the Main Entrance Lobby.
OCTOBER 15, NOVEMBER 19, DECEMBER 17, JANUARY 21
Join us once a month for coffee followed by a lecture or film screening. Coffee at 9:15 a.m. and lecture at 10:15 a.m., both in the Mark Building. This is a free program and everyone is welcome. Please visit the Museum website to learn more about upcoming topics. Art & Conversation is made possible through the Marguerite and Harry Kendall Education Fund.
For a list of speakers and topics, please visit the Museum’s website. ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org, or call 503-226-2811 at least two weeks in advance.
PORTLAND ART MUSEUM 31
ONGOING PROGRAMS continued
ART COUNCIL PROGRAMS The Portland Art Museum Art Councils program brings together people who share specific interests in art, culture, and scholarship. Many Art Council programs are free, open to the public, and a way to learn more about how you too can join a Council. The Art Council programs below are open to everyone, so please join us to learn more.
PHOTOGRAPHY COUNCIL
Brown Bag Lunch Talk Series 3RD WEDNESDAY OF THE MONTH NOON OCTOBER 16, NOVEMBER 20, DECEMBER 18, JANUARY 15
Sharon L. Miller And Family Community Free Day DECEMBER 14 10 A.M. – 5 P.M.
The Photography Council’s monthly Brown Bag Lunch Talks series brings Northwest photography luminaries to discuss their work and current issues in producing and collecting. Sponsor: Pro Photo Supply.
Join us for a range of community programs and activities highlighting themes related to Hank Willis Thomas: All Things Being Equal…. Free admission to the galleries all day. Free family and community programs are generously supported in part by Sharon L. Miller and Family, The Gordon D. Sondland and Katherine J. Durant Foundation, The Lamb Baldwin Foundation, and The Joseph E. Weston Public Foundation.
NORTHWEST ART COUNCIL
A Necessary Irritant JANUARY 28, 6:30 P.M. GARTH CLARK, SCHOLAR & CRITIC OF CONTEMPORARY CERAMICS
UNLESS OTHERWISE NOTED, ALL
ACCESSIBILITY
PROGRAMS ARE FREE FOR MEMBERS.
The Portland Art Museum is pleased to offer
SPACE MAY BE LIMITED. ADVANCE
accommodations to ensure that our programs are
TICKETS ARE RECOMMENDED AND
accessible and inclusive. Please email a request to
AVAILABLE ONLINE OR ON-SITE.
access@pam.org, or call 503-226-2811 at least two weeks in advance.
32 PORTLAND ART MUSEUM
A Necessary Irritant is a roller coaster ride through the Ceramic Revolution and is the final lecture on Garth Clark’s last international tour. Drawing on over 80 books, 400 monographs, essays, and reviews he has authored over the past five decades, Clark’s presentation weaves together his biography with seminal moments in 20th and 21st century contemporary ceramic art. This event is organized in collaboration with Mudshark Studios and the University of Oregon’s Center for Art Research (CFAR) and hosted by the Northwest Art Council.
PUBLIC TOURS Join Museum docents for gallery tours and other experiences at various times throughout the week. Public tours depart from the Park Avenue entrance on the following days and times (except Friday-Sunday when tours depart from the Sculpture Court): 1 P.M. THURSDAY 6 P.M. FRIDAY (SLOW LOOKING) 12:30 & 3 P.M. SATURDAY 12:30 P.M. SUNDAY (FAMILY) 3 P.M. SUNDAY
Picture This
Meditation Series
TOURS FOR VISITORS WHO ARE BLIND OR PARTIALLY SIGHTED
FIRST AND THIRD THURSDAYS OF EVERY MONTH, 5:30 P.M.
Picture This tours are currently on a temporary hiatus to allow for community input and program updates. Please check the Museum’s website or contact Becky Emmert, Head of Accessibility, at becky.emmert@pam.org for information.
33 PORTLAND ART MUSEUM
Meditate at the museum. You are welcome to attend all sessions or drop in as you like.
MARK YOUR CALENDAR
NOVEMBER 9
Literary Arts’ beloved annual celebration of books offers more than 100 authors presenting onstage events, pop-up readings, and writing workshops, plus a book fair, local food vendors, and more. For more information, visit portlandartmuseum.org/pdxbookfest.
Portland Fine Print Fair 2020 JANUARY 24–26
Now in its seventh year, the Northwest’s only fine print fair brings together 18 premier print dealers and galleries from North America, Europe, and Asia. A benefit preview on January 24, 6–9 p.m., supports the activities and acquisitions of the Department of Prints and Drawings. For more information, visit portlandartmuseum.org.
UNLESS OTHERWISE NOTED, ALL
ACCESSIBILITY
PROGRAMS ARE FREE FOR MEMBERS.
The Portland Art Museum is pleased to offer
SPACE MAY BE LIMITED. ADVANCE
accommodations to ensure that our programs are
TICKETS ARE RECOMMENDED AND
accessible and inclusive. Please email a request to
AVAILABLE ONLINE OR ON-SITE.
access@pam.org, or call 503-226-2811 at least two weeks in advance.
34 PORTLAND ART MUSEUM
GIFTS & GATHERINGS
THANK YOU The Portland Art Museum and Northwest Film Center gratefully acknowledges the members and supporters who make our mission possible. All gifts above $250 received between April 1 and July 31, 2019. *deceased $25,000 & ABOVE
Linda and Scott Andrews Berggruen Institute Citizens of Portland through the Arts and Education Access Fund European and American Art Council Janet H. Geary Alix and Tom Goodman Japan Foundation, Los Angeles Willa M. Kemp Cynthia and Edward Maletis Nancie S. McGraw Pat and Trudy Ritz Arlene Schnitzer / The Harold & Arlene Schnitzer CARE Foundation Lois T. Schnitzer The Ford Family Foundation The Smidt Foundation The Standard Wells Fargo / Wells Fargo Foundation William G. Gilmore Foundation
$10,000 – $24,999
Amjad and Helen Bangash Asian Art Council Peter and Missy Bechen The Pietro and Marjorie B. Belluschi Designated Fund of the Oregon Community Foundation Daniel Bergsvik and Donald Hastler Bryan Bickmore Richard Louis Brown Mr. and Mrs. Roger Burpee Anne and James F. Crumpacker Davis Wright Tremaine Foster and Penelope Devereux Rick and Robyn Dillon Cooper DuBois and Sanda Stein The John S. Ettelson Fund of the Oregon Community Foundation Matthew and Jasmin Felton Ferguson Wellman Capital Management, Inc. Katherine and Mark Frandsen Henry Failing Fund Mary Chomenko Hinckley and Gregory K. Hinckley Judy and Hank Hummelt Heather Killough and Christian Selleron Dick Kroll
36 PORTLAND ART MUSEUM
Lematta Foundation Kathleen Lewis Elizabeth Lilley The Mary and Pete Mark Charitable Fund of the Oregon Community Foundation Jay and Tonia Mason McGeady Family Foundation Kenneth and Ryna Mehr Sarah Miller Meigs and Andrew Meigs Mark J. and Dr. Jennifer R. Miller NetX Digital Asset Management Robert Lehman Foundation Jordan D. Schnitzer Thomas and Megan Shipley The Kinsman Foundation The PGE Foundation Greg and Cathy Tibbles Travel Portland U.S. Bank / U.S. Bank Foundation Mr. and Mrs. William A. Whitsell Sabine Artaud Wild Jim and Susan Winkler
Molly F. Jones Selby and Douglas Key Ross Laguzza Drs. Dolores and Fernando Leon Jerry and Susie Logan M. James and Jennifer Mark Diane Forsgren McCall James and Tracy Morse Estate of W.H. Nunn PDX CONTEMPORARY ART / Jane and Spencer Beebe Charles and Jennifer Putney Quest Events Patricia Reser and William Westphal The Richard and Mary Rosenberg Fund of the Oregon Community Foundation Saffron Fields Vineyard Karl Studnicka and Emi Oshima Victoria Taylor Tiffany & Co. Cheryl Tonkin Jane and Lawrence Viehl Gary Young
$5,000 – $9,999
$2,000 – $4,999
Association of Art Museum Directors Mary Lee Boklund Walter Bowen Bridgewood Event Rentals Bruce and Brenda Burns Bryce Butler C3: Initiative Cascadia Foundation The Conrad Clark Fund of the Oregon Community Foundation Cynthia and Stanley Cohan Spencer and Mary Dick Tom and Sue Ellison Foundation Brian Ferriso and Amy Pellegrin Maribeth Graybill Leona and Patrick Green Tanya Gross in memory of Brian Gross Margaret and Roger Hinshaw hivemodern.com The Ronna and Eric Hoffman Fund of the Oregon Community Foundation Margaret Jones and Lewis Hemenway
Ad-Mail, Inc. Helina and Al-Farouq Aminu Lisa Andrus-Rivera Art of Catering Joan Lamb Baldwin Anne Barbey Sharon and Keith Barnes The Benevity Community Impact Fund Deborah Bergman Charles and Courtni Billow Buzz Braley Karie Burch Cascade Manor CCS Fundraising Mike and Tracey Clark Miles Collier Columbia Private Banking Ré Craig D.A. Davidson & Co. James and Nancy Dalton George and Barbara Dechet J. Michael Deeney, M.D. Devil’s Food Catering
Domaine Serene Winery Margueritte H. Drake Carol Edelman Richard Edelson and Jill Schnitzer Edelson Ken and Ann Edwards Elephants Delicatessen Elizabeth Leach Gallery Ann and Ron Emmerson Robert Feldman and Julia Mangold The William Sterling Findlay and Susan Halton Fund of the Oregon Community Foundation Lana and Christian Finley Ryan and Mary Finley Jill and Tony Garvey Suzanne Geary Lisa Goodman and Josef Vascovitz Gia Goodrich Photography Stella Green Karen and Harry Groth Mr. and Mrs. Jeff Grubb Steven Harris Holt Services Inc. Joan and Fred Horstkotte Jacob H. Iliohan J. Scott Cellars Heidi and Doug Kirkpatrick Sara Krajewski and Jeff Fisher Greg Kucera Lady Hill Winery Donna L. Larson Patrick Y. H. Lee Barbara A. Lee Robert and Susan Leeb Howard Lichter Tonya and Rick Mahler Elise and Jon Makler Shawn and Lisa Mangum Jim and Char McCreight Duane and Barbara McDougall Shawn Menashe Thomas Mesher Meyer Pro, Inc. Jo Ellen and Samuel Miller Montinore Estate Dee and Thomas Moore Mia Hervin Moore and Jon Moore Virginia S. Mullen* Ernest and Anne Munch Native Arts and Cultures Foundation Tom and Chris Neilsen Lauren Noecker and Christian Robert Spencer and Cambria Noecker Elizabeth C. Noyes Judy and Richard Parker The Party Place Patricia A. Paulson Pearl Catering LLC Marilyn and Max Podemski in memory of Evelyn Ross
Roche Bobois Precision Door Service Pro Photo Supply Mae Reeves Dianna Remmers and Walter Remmers Room & Board April Sanderson Nathan Sasaki Eugene and Mary Sayler Lani McGregor and Daniel Schwoerer Grace Serbu Angela and Rex Snow Gordon D. Sondland and Katherine J. Durant Sports Car Market Eva J. Swain John and Dona Tarpey The Boeing Company Rena L. Tonkin Robert Trotman and William Hetzelson The Dr. John Wm. And Betty Long Unruh Fund of the Oregon Community Foundation Don and Linda Van Wart Vibrant Table Catering and Events Inc. Barbara and Bastian Wagner Silvia C. Waltner Cheryl and Tom Wyatt X-Rite Pantone Jonathan and Pearl Yu
$250 – $1,999
Sheryl B. Acheson Kathleen Adelman and David Delaney Michael and Debbie Aiona Roudi and Mehdi Akhavein Carole Alexander Linda and Eva Alford Mujtaba Ali and Sharon Gravell Courtney Angeli Joyce and John Anicker Annette Arrieta Robert Aughenbaugh Bill Avery Robert and Martha Bailey Jane Baird David Barnard and Akiko Hashimoto John Barry and Toni Eigner-Barry Gayle Bast Niran Bates Lori and Todd Bauman Anne Becker Miller and Michael Miller Carol Bednarz Maureen Mader and Michael Bennison Robert Harper and Georgia Bergman-Harper Linda Besant and Martha Goetsch
1 2 3
PARIS 1900 GALA 1. Jeff Fisher, Amy Weaver, Mary Weaver Chapin, and Steve Chapin 2. Brian Ferriso addresses the guests 3. Janet Geary, Jerry Baker, and Suzanne Geary 4. Darren Dillon and Britney Powers 5. Guests enjoying the evening 6. Helena Lankton, Lisa Brooke, and Bing Bingham
4
5
6
MEMBERS NIGHT
Raymond Bidegain and Kathleen McNamara Peter and Susan Bishop John and Suzanne Bishop Mr. and Mrs. Lawrence S. Black Mary and Donald Blair David Blaisdell Candace and Ronald Blash Gregg R. Blue Deborah Bouchette and William Wickart Dacia Bowman Mr. and Mrs. Tim Boyle Norma and Scott Bradfish Cheryl and John Bradley Maureen and John Bradley Barbara and Robert Brady John and Sarah Brehmer Janet Britton Patricia and Gary Brockway Robert and Patricia Brown Douglas Burton Steve and Debbie Carlton Nancy Catlin Carol Ann and Kent Caveny Susan J. Chandler Maisie Chang and Steven Polansky Mee and Robert Chau Rosemary Depler and Howard Cohen Michael and Judy Collins Sonja and Regina Connor Ginnie Cooper and Rick Bauman David and Sally Cowles Ron and Laura Croft Jimmy Crumpacker K. Crumrine and Sara Edwards Nichols M. Cutting and Katherine Bremser David and Alice Davies Elizabeth and Kirk Day Christelle de Asis and Jon de Asis Kathleen de Montlebert Alice Derryberry Mary Dickson Linda L. Doherty David Dotlich and N. Elwood Martha Dover Gile and Melinda Downes Francie and Paul Duden Brendan Dummigan Earl and Florence Dyer Dave Emory Richard and Janet Enger Mary Erbaugh and Dick Kraus Ellen Fader Cary Ferrin and Jeff Workman Carol Ferris Shirley and Larry Fester Gwendolyn and Drew Field Anne Lacy Fielland Susan and Greg FitzGerald
Bruce and Cynthia Fitzwater Myron and Pat Fleck Theresa and Storm Floten Per-Olof Jarnberg and Joan Foley Ronald C. Fraback Gerald W. Frank Donna French and Dennis Puetz Sandra L. Friberg Stanley and Helen Friedman Memorial Trust Charles Fuchs and Kyle Fuchs Albert and Virginia Furtwangler Alexandra and Zanley Galton John and Pauline Garney Maureen Gates and Allen Hansen Diana Gerding in memory of Bob Gerding Carl and Kate Giavanti Jane Gigler and William Bernstein William Gilliland John Gittelsohn in memory of Shirley Gittelsohn Paul Greenlee and Catherine Morton Greenlee Nancy and Robert Greiff Jeffrey Menashe and Wendy Gutmann Luisa Adrianzen Guyer and Leigh Guyer Ken Haines and Peg Welch Peter and Diana Hall Terrence E. Hall Carl Halvorson Karl and Irene Hammann Sharon Harker and Scott Bontempo Claudette Hastie Beahrs and John O. Beahrs Antoinette and Mark Hatfield William and Katherine Hawkins Pamela and Peter Hayes Matthew and Jennifer Hefko Dean and Anita Heiling Cynda Herbold James and Susan Hering Arthur and Gertrude Hetherington Lorenzo Hiler John and Karen Hoke Dan and Pat Holmquist Sylvia Nessan and Heinz Holzapfel Cheri and Stephen Housel Mark Huey and Wayne Wiegand Patrick and Sigrid Huston Edward and Nancy Hutchinson Carol C. Ihlenburg Leonoor Ingraham-Swets and Aukjen Ingraham Bobbi Inman Robert Jacques and Laya Aroushiravani Robert and Jill Jarrett Diane F. Jarvis Robert W. Jensen Mrs. Salena Johnson Julie Beeler and Brad Johnson
Patricia B. Jones Erin Kane and Matthew Letzelter Christopher and Sook Kang Joel and Pat Kaplan Mary Katsilometes and Michael Reinbold Mark and Ethel Katz Sivia Kaye in memory of Bernard Kaye Kevin Keithley Douglas Kelso Nino and Melissa Kilgore-Marchetti Barbara and Jock Kimberley Carol Kirklin Jerome Kleffner Romy Klopper Nick and Patty Knapp Steven E. Koch Brigitte Kolloch-Russell and Andy Russell Elizabeth Kuniholm and Bruce Kuniholm Steve Kutz Joan Lamb, Lamb Family Foundation Jerry Lamb Paola Lamorticella and Scott Fox Mike Langtry Helena and Milt Lankton Marie Larabie Susan A. Lavin in memory of Brian Gross Betty Lavis and Charles Brasher John and Lisa Lehman Barbara Lenfesty and Richard Mullins Phyllis Leonard Stu and Sarah Levy Richard Lincoln Robert and Carol Lincoln LaValle S. Linn Kathleen and W. Greg Lockwood Mary A. Lockyear Stanley and Joyce Loeb John Lutz and Robbie Moller Monteith Macoubrie Paula Madden Melinda and Bill Maginnis Louise and Bruce Magun Tita Malinow Terri Mann and Jim Riha Ken and Linda Mantel Evelyn Mareth and John Murphy Susan Markley Catherine Martin and Barbara Bond Anne Matlak James M. Matson Susan and Fred Matthies Catherine McClaskey Donald and Patricia McConnell Michael and Judith McCuddy Michael and Maryellen McCulloch
The Sir James and Lady McDonald Designated Fund of the Oregon Community Foundation Peter McDowell Virginia McGraw June and Marianna McLean Anne G. McMahon Leonard Gionet and Yvonne Meekcoms Gionet Simon Menasche and Luz Villalba Ann Messick Edie and Mark Millar Peggy and Gil Miller Brad and Nancy Miller Mia and Matt Miller Robert and Geneva Elyn Miller Laura and Paul Milne Bernadine and Robert Mittelbach Susan Monti Jeffrey Morgan Michael Morgan and Nancy Babka Nancy and Kevin Morrice Rodney Morris and Dean Emmons Jeanette and Bruce Morrison Denise Mullen Sarah and Richard Munro Christopher Bateman and Adam Murdoch Terry and Carolyn Murphy Helle and Wei Nathan Cheryl Naumoff Stephen Nelson and Ann Adams Anne and David Noall Judy and Jim North Eileen Odum The Milo and Beverly Ormseth Fund of the Oregon Community Foundation Dennis and Suzie Ott Cathie and Marcus Padgett Gloria Patterson Marc Pavillard and Sandra Menashe Mark and Christiane Payton Vince and Karen Penta Shirlee D. Perkins Richard and Sharon Perkins Brenda J. Peterson Linh Phan and Mark Skarpness Cathey and David Philbrick Michael S. and Linda Pierce Donna Pierleoni and Kit Morris Mr. and Mrs. Luke Pietrok Marney and Allan Pike Kay and Jan Pinkava Diane M. Plumridge Charles and Ruth Poindexter Harold and Jane Pollin Sue Porter Gayle and Carol Post Patrick and Cheryl Prendergast Mac Prichard Stanley and Kimberly Prosser
John and Bonnie Providenza Rod Pulliam and Glenn Clevenger Quailhurst Vineyard Estate Sarah Quist and Paul Dolbey Richard and Wendy Rahm Linda Rahm-Crites Marcia H. Randall Larry Clemenson and Kymberly Randolph Christopher Rauschenberg and Janet Stein Rahul Ravel Sharlyn Rayment Lynn and Steven Redlin Phyllis I. Redman Burton Reif and Jeanne D’Archer Patrick O’Herron and Diana Rempe Mr. and Mrs. M. Burke Rice Gerald and Alene B. Rich, M.D. Anne and Robert Richardson John L. Richter Jennifer Rivlin and Zane Rivlin Beryl Robison Kelly Rodgers and Ted Labbe John H. Rolston Louise Roman and Will Bruder Doreen Roozee and Atif Zaman John and Joy Rosenfeld Rosemarie F. Rosenfeld Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Paul Russell Sally Ryan Dan Saltzman and Liz Burns Thomas H. Sanborn Jane Robinson and Michael Sands Jon and Barbara Schleuning Edward Schmidt and Elizabeth Quinn Steven and Janice Schoen John and June Schumann Richard and Marcy Schwartz Wayne Schweinfest Jean W. Scott David and Connie Selleck Keoamkha Sengnouanchanh Sheila P. Service The Leslie and Dorothy Sherman Fund of the Oregon Community Foundation Lance and Marion Shipley Mary and Thomas Showalter Danielle and Andrew Shull Tom and Carol Shults Charles Siegfried and Heather Siegfried Rick Silverman and Phyllis Thompson Jaymi and Francis Sladen William and M. Susan Smith Greg Smith Polly and Jim Spencer Linda L. Springer Charles Starkey
PORTLAND ART MUSEUM 39
Stegman Family Fund of the Greater Cincinnati Foundation Brandon and Viviana Stewart Isabel Stirling Ron and Deb Stock Lacey Stoffer Kathy Story Jeffery Street and Martha Hodgkinson John Strege and Kevin Walsh Angela Summers and Sanjeev Lahoti Larie and Richard Thomas TIAA Charitable Michael and Anne Tinnesand Jon Townsend and Suzanne Ojibway Townsend Carol and David Turner Richard Varan and Nina Lee John and Margaret Voigt Jan and Carol Vreeland Elizabeth Wadsworth and Paul Peppis Bill and Leslie Waldman Kathleen and Patricia Wall Elizabeth Wallace Keith Walters and Jonathan Tamez Betsy Warren Wendy W. Warren and Thomas Brown Delmas and Susan Webb Ann L. Wellman Wendy Wells Jackson Barbara West and John Taylor
West Coast Event Production Hal and Marcia Westreich Walter E. Weyler Teri White Pamela Whyte and Ron Saylor Dan Wieden and Priscilla Bernard Wieden Peggy Wier Cameron and Carey Wiley Gina Williamson Skinner and Scott Healy Samuel and Sandra Wilson Clifford J. Wilson Cheryl Wilson Carl and Helen Winterstein Derek Wolcott Demian Woyciehowsky and Marcela Arroyave Jan Wyers Steven Wynne and Deborah Hewitt Richard Ludeman and Sheri Yadav Henry R. Ybarra YourCause, LLC Nancy Zacha Greg Zarelli and John Bush Diane Zhitlovsky and Michael Henness Marti E. Zimlin
NORTHWEST FILM CENTER AC Hotel Adelsheim Vineyard All Classical Portland
Linda and Scott Andrews Artists Repertory Theatre Justine Avera Avid Gayle Bast Kay Bristow Don Brown Susan J. Chandler City of Portland Consulate General of Sweden Linda J. Crum Sandra Dal Porto DIAGEO Elk Cove Vineyards Mary Erbaugh and Dick Kraus Ellen Fader Shirley Fester Gwendolyn and Drew Field Ronald Fraback French American International School Garden Bar Gearhead Grip & Electric Marie Godbey and Nicholas Schiller Stella Green Higgins Hoda’s Lebanese Restaurant and Catering Bobbi Inman Institute for Judaic Studies Japan Foundation, Los Angeles King Family Foundation Koerner Camera Systems
Jeffrey Menashe and Wendy Gutmann Millennium Enterprises, Inc. Marjorie Millner Morel Ink Mt. Hood Cable Regulatory Commission MUBI USA Oregon Community Foundation Oregon Film Oregonian Media Group Park Lane Suites Michael Plaster Polish Library Association Mac Prichard Prosper Portland RBC Wealth Management Maryam Tahririha and Bill Reed John Richter Ristretto Roasters Romanian American Society SAG-AFTRA W. Curtis Schade and Jacquie Siewert-Schade Lois T. Schnitzer Southpark Seafood Grill and Wine Bar Spain-USA Foundation Cultural Center Ben Starkey Charles Starkey State of Oregon Steven Smith Teamaker Stone Barn Brandyworks
Swedish Women’s Educational Association Maryam Tahririha and Bill Reed Abigayle Tarsches The Hoxton Hotel The PGE Foundation TriMet Jim and Susan Winkler Derek Wolcott World Foods Portland
GIFTS OF ART
James D. Burke James D. Burke in memory of S. Alan Weaver Carl Chiarenza Peter J. Cohen Egenolf Gallery / Veronica Miller Christine Grenell Patricia A. Janesh, Ph.D. MPH Margaret L.L.C. Jones Margaret L.L.C. Jones in honor of Maribeth Graybill Mel Katz Jerry Lamb Irwin Lavenberg in honor of Maribeth Graybill Robert and Sandra Mattielli Marilyn Podemski in honor of her mother, Evelyn Ross Ingrid Rose in memory of Milton Rose Peter Shinbach Gary Westford
WAYS TO GIVE Every gift has the power to provide experiences that invite, inspire, and connect people with art and each other. Visit pam.to/donate or call 503-276-4365
The Museum gratefully acknowledges all members who have continued to support the Museum on an annual basis through their membership contributions. The Portland Art Museum is accredited by the American Association of Museums and is supported in part by annual contributions from the Oregon Arts Commission, the Oregon Arts Heritage Endowment Fund of The Oregon Community Foundation, the National Endowment for the Arts, and the Regional Arts & Culture Council.
MONSTER DRAWING RALLY
GALLERY EXPERIENCE PARTY CELEBRATING VOLUNTEERS AND DOCENTS
ELLA HIRSCH LEGACY SOCIETY The Portland Art Museum gratefully acknowledges members of the Ella Hirsch Legacy Society, those who have chosen to support the Museum through their wills, estate plans, or life income arrangements. Members enjoy the satisfaction of knowing that their gifts will become part of our region’s artistic and cultural heritage. For more information, contact Karie Burch at 503-2764240. (List as of July 31, 2019) *Deceased Anthony C. R. Albrecht Betty Allen* Ron Anderegg William Ashworth* and Lee Anna Bennett Ashworth Roger Barber* in honor of Olivia Shepard Barber Patricia H. Beckman* Marjorie and Pietro Belluschi* Pamela Berg Daniel Bergsvik and Donald Hastler Patricia and Steven Bilow Clarence Bobbe* Mr. Bruce Bowers* Judy Bradley and Dave Mitchell Theodore* and Celia Brandt Kay and Marty Brantley and Sons Marjorie Briggs* Kay Campbell and John Maul* Brent and Laura Carreau Ed Cauduro* Nancy* and William Chalmers Maribeth W. Collins* Ardeth E. Colliver* Lois V. Colliver* Chuck and Peggy Corgan Jeannine B. Cowles* Ms. Lois R. Davidson* Cynthia and Frank Day Pamela R. and Paul A. De Boni Mary and Spencer Dick Mr. Stuart Durkheimer* Stephen W. Edwards* Erma C. Engels* Joanne M. Engels 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 honor of Ella and Lloyd Green* Bruce Guenther and Eduardo A. Vides, M.D. Diana and Peter Hall Guinivere Hall* Susan Halton John and Carol Hampton* Michael Harrison Karl and Edith Henze* Judi K. Hofer* Ronna and Eric* Hoffman Tom* and Gretchen Holce Thomas W. Holman, Sr.* Jerry* and Jackie Inskeep Mr. Manuel Izquierdo* Salena Johnson Noel Jordan* Fred and Gail Jubitz Wendy Kahle and Stanley G. Boles James Kahan and Kathia Emery Ruth Kainen* Dr. Sivia Kaye Richard and Ruthie Keller Martin* and Judy Kelley John Kellogg Peter* and Nan Koerner Marian Kolisch* Henry* and Yvonne Laun Drs. Dolores and Fernando Leon Joe and Maria Leon Irving Lieberman Joanne Lilley Veronica A. Macdonald* Lisa and Shawn Mangum Mary and Pete Mark* Maryellen Mcculloch Beverley McDuffie Irene H. McHale* Laura and Roger* Meier
Sarah Miller Meigs and Andrew Meigs Gloria Grimson Mighell Phillip C. Miller and Sharleen Andrews-Miller Prudence M. Miller* Robert and Sharon Miller Margo Montgomery Camila Morrison Marilyn Murdoch Eldon W. Ostrem* Dr. Robert B. Pamplin and Mrs. Marilyn H. Pamplin James V. Parker and Kathleen Culligan Martha Jane Pearcy Carl Pearson* Dr. Franklin* and Dorothy Piacentini 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 Stephanie Simpson Roley Jay and Martha Rosacker Richard and Mary Rosenberg Mr. Jon W. Roth* Sarah K. Rowley and Garry Neil Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Luwayne E. Sammons Arlene and Harold* Schnitzer Peter Shinbach Ken Shores* and Tom Law Dr. Joseph A. Soldati Gordon D. Sondland and Katherine J. Durant Richard C. Stetson, Jr. Julie and Peter Stott Roy and Tricia Streeter Patricia Swenson* 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 Charles Wrobel, M.D. and Heidi Affentranger Anonymous (12)
THE ART OF CREATING A LEGACY Make a Tax-Free Gift from Your IRA If you are 70 1/2 years old or older, you can make a tax-free gift from your individual retirement account (IRA) directly to the Portland Art Museum. You are free to make annual gifts to qualified charitable organizations from your IRA this year and well into the future. HOW IT WORKS You must be 70 1/2 or older at the time of your gift. You may transfer any amount up to $100,000 directly from your IRA to a qualified charitable organization. The transfer is not considered to be taxable income, and therefore does not generate an income tax deduction, so you benefit even if you do not itemize your tax deductions. If you have not yet taken your required minimum distribution for the year, your IRA charitable rollover gift can satisfy all or part of that requirement. MAKE AN IMPACT TODAY By making a gift this year, you can make an immediate impact on our work while putting the wheels in motion to create a philanthropic legacy.
IF YOU HAVE ANY QUESTIONS, PLEASE CONTACT Portland Art Museum | 1219 SW Park Avenue, Portland, Oregon 97205 Karie Burch, Director of Development at 503-276-4240 or karie.burch@pam.org portlandartmuseum.org/plannedgiving The Portland Art Museum is a 501(c)(3) tax-exempt nonprofit organization incorporated in the State of Oregon. EIN: 93-0391604.
PORTLAND ART MUSEUM 43
SHOP FOR ART The Portland Art Museum’s retail and rental programs help support our mission of engaging and inspiring the community through art.
Rental Sales Gallery Located at 10th and Jefferson, just behind the Museum, the Gallery offers more than 1,200 works of original art by 250+ regional artists, all for rent or purchase. Learn more about our art and events at rentalsalesgallery.com
Museum Store
Rental Sales Gallery is proud to be celebrating its 60th Anniversary this year. Founded in 1959, RSG is a vital part of Portland’s cultural life. (See page 17 for more about the gallery’s history.)
Browse the eclectic selections and come see what’s new and exciting for the holiday season.
Join us on Saturday, October 19, noon to 7 p.m., for our special Fall Show Launch and Diamond Celebration event, where we will showcase more than 200 new pieces of art by our talented member artists.
Members receive a 10 percent discount.
Museum Grounds Now featuring Dovetail Coffee, the Museum’s coffee shop offers great local foods from Elephants Delicatessen and treats from Pearl Bakery and Gluten Free Gem. Also join us Friday nights 5 to 8 p.m. for Art Pub with beer, wine and snack specials. Members receive a 10 percent discount. Find us on Instagram at @museumgrounds.
Artful Venues Planning a special event? Bring your vision to life by booking our unique venue spaces! All proceeds help fund the Museum’s education and exhibition programs. Discounts for nonprofits and off-season prices are available. Visit events.portlandartmuseum.org. Find us on social media at @artfulvenues.
44 PORTLAND ART MUSEUM
Artful Venues make your occasions truly special. Contact our sales team at 503-276-4291 or events@pam.org.
HOURS
Monday Closed Tuesday–Wednesday 10 a.m.–5 p.m. Thursday–Friday 10 a.m.–8 p.m. Saturday–Sunday 10 a.m.–5 p.m.
Continuing PICTURING OREGON Through October 2019 DRAMATIC IMPRESSIONS JAPANESE ACTOR PRINTS Through October 13, 2019
EXHIBITION SCHEDULE Opening HANK WILLIS THOMAS: ALL THINGS BEING EQUAL… October 12, 2019 – January 12, 2020 JAPANESE PRINTS: CURATOR’S CHOICE October 19 – ongoing ISAKA SHAMSUD-DIN: ROCK OF AGES November 2, 2019 – August 2021 PORTRAITURE FROM THE COLLECTION OF NORTHWEST ART November 2, 2019 – August 2021 THE ART OF READING: AMERICAN PUBLISHING POSTERS OF THE 1890S November 16, 2019 – June 21, 2020 BEING PRESENT: REVISITING, SOMEWHAT UNFAITHFULLY, PORTLAND’S MOST EXPERIMENTAL ART EXPERIMENT, THE PORTLAND CENTER FOR THE VISUAL ARTS November 16, 2019 – June 14, 2020
MASTERWORKS | PORTLAND: GEORGES DE LA TOUR Through October 13, 2019 SQUIRRELS, TIGERS, AND TOWERING PEAKS: KOREAN PAINTINGS FROM THE MARY AND CHENEY COWLES COLLECTION Through October 27, 2019 MICKALENE THOMAS: DO I LOOK LIKE A LADY? (COMEDIANS AND SINGERS) Through October 27, 2019 ITALIAN EXCELLENCE: ILLUSTRATIONS FOR GIANNI RODARI Through November 10, 2019 AKUNNITTINNI: A KINNGAIT FAMILY PORTRAIT Through January 5, 2020 QUESTION BRIDGE: BLACK MALES Through January 12, 2020 TOUGHENED TO WIND AND SUN: WOMEN PHOTOGRAPHING THE LANDSCAPE Through March 8, 2020
CONTACTS General Information Membership Information
503-226-2811 503-276-4249
CRUMPACKER FAMILY LIBRARY HOURS Open by appointment. Please contact library@pam.org or call 503-276-4215
ADMISSION
Members/Children (17 and younger)* free Adults $20 Seniors (62 and older) $17 Students (18 and older with ID) $17 *Children 14 and younger must be accompanied by an adult. Tickets available online.
FREE & REDUCED
ADMISSION Every Day
Children ages 17 and younger are free.
Every Friday after 5 p.m. $5 general admission 5–8 p.m.
Free First Thursday Free admission 5–8 p.m. The first Thursday of every month.
Miller Family Community Free Day December 14, 10 a.m. – 5 p.m. Support for free admission is made possible thanks to The Gordon D. Sondland and Katherine J. Durant Foundation, Sharon L. Miller and Family, and The Lamb Baldwin Foundation. Help us provide additional free opportunities by supporting the Museum’s Art Access Endowment. One-third of all visitors enjoy the Museum for free or at a highly reduced admission price. The Museum offers free admission for veterans and active-duty military. Visit portlandartmuseum.org/admission-access-programs
1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG
OCTOBER MON
TUE
2019 WED
THUR
FRI
BABY MORNING
SAT
PUBLIC TOUR
Native American Art 10 a.m.–noon
Slow Looking 6 p.m.
D
Highlights 1 p.m.
2 MIDDAY ART BREAK
3 PUBLIC TOUR
Highlights 3 p.m.
PUBLIC TOUR
Mythology in the Museum 12:30 p.m. Native American Art 3 p.m.
4 PUBLIC TOUR
Highlights 1 p.m.
E
12:30 p.m.
Hank Willis Thomas: All Things Being Equal...
Slow Looking 6 p.m.
PUBLIC TOURS
8
9 PHOTOGRAPHY COUNCIL BROWN BAG TALK
9:15 Coffee 10:15 a.m. Lecture
Noon
Highlights: 3 p.m. HANK WILLIS THOMAS CELEBRATION
10 PUBLIC TOURS
11 PUBLIC TOUR
Highlights 1 p.m.
Slow Looking 6 p.m.
17 PUBLIC TOURS
18 PUBLIC TOUR
Highlights 1 p.m.
Slow Looking 6 p.m.
21
19
Highlights 3 p.m.
PUBLIC TOURS
FAMILY TOUR
All Things Being Equal... 3 p.m.
FILM
20
Where the Wild Things Are! 12:30 p.m. James Baldwin—The Price of the Ticket 2 p.m. PUBLIC TOUR
22
23
24 PUBLIC TOUR
Highlights 1 p.m.
C 28
13
PUBLIC TOUR
L
5:30 p.m.
Asian Art 3 p.m.
Asian Art in Portland: Past and Future 2 p.m.
Drawing is Seeing 12:30 p.m.
NEW MEMBER TOUR
PUBLIC TOUR
LECTURE
Mindfulness in the Museum 12:30 p.m. All Things Being Equal... 3 p.m.
They Live 2 p.m
Drawing is Seeing 12:30 p.m.
PUBLIC TOURS
Sharyll Burroughs 6 p.m.
Fashion and Art 12:30 p.m.
FAMILY TOUR
Rental Sales Gallery Fall Show & 60th Anniversary Celebration Noon–7 p.m.
ARTIST TALK
16
12
OPENS
Meditation 5:30 p.m.
15
Benefit Dinner: 5:30–9 p.m. Opening Party: 9–11 p.m.
6 FAMILY TOUR
FILM
Northwest Artists: 12:30 p.m.
Hank Willis Thomas in Critical Conversation 6 p.m.
ART & CONVERSATION
5 OPENS
LECTURE
7
S
FAMILY TOUR
Meditation 5:30 p.m.
1
O
PUBLIC TOURS
Listening to Art 12:30 p.m.
PUBLIC TOURS
14
SUN
29
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31
25
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European Art 3 p.m.
27
NOVEMBER MON
TUE
2019
WED
THUR
FRI
SAT
127TH ANNUAL MEMBERS MEETING AND OPEN HOUSE
SUN
OPENS
FAMILY TOUR
PUBLIC TOURS
FILM + IN DIALOGUE (following the film)
Pets & Other Cherished Creatures 12:30 p.m.
Isaka Shamsud-Din: Rock of Ages Portraiture
5:30–8:30 p.m.
A Litany for Survival 2 p.m.
D
Glass in the Galleries: 12:30 p.m. Contemporary Art: 3 p.m.
1 BABY MORNING
PUBLIC TOUR
E
All Things Being Equal... 10 a.m.–noon
COMMUNITY CELEBRATION DÍA DE MUERTOS
2–9 p.m.
PUBLIC TOUR
2
PORTLAND BOOK FESTIVAL
Slow Looking 6 p.m.
Italian Excellence FAMILY TOUR
Let’s Go on Vacation!: 12:30 p.m.
Highlights: 1 p.m.
FILM
Meditation: 5:30 p.m.
5
S
4
6 MIDDAY ART BREAK
5–8 p.m.
The Corporation: 1:30 p.m. PUBLIC TOUR
7
PUBLIC TOUR
12:30 p.m.
8 PUBLIC TOUR
Highlights 1 p.m.
9 OPENS
The Art of Reading
Slow Looking 6 p.m.
FILM
Koyaanisqatsi 2 p.m.
O
Artists of Color 12:30 p.m.
12 ART & CONVERSATION
13 PHOTOGRAPHY COUNCIL BROWN BAG TALK
9:15 Coffee 10:15 a.m. Lecture
L
Noon
18
14
16
PUBLIC TOURS
FAMILY TOUR
Meditation 5:30 p.m.
DON’T SHOOT PORTLAND PRINTMAKING WORKSHOPS
All Things Being Equal... 3 p.m.
PUBLIC TOUR
Slow Looking 6 p.m.
20
Prints in the Galleries 12:30 p.m.
21
22 PUBLIC TOUR
Highlights 3 p.m.
C
23 PUBLIC TOURS
Slow Looking 6 p.m.
Women in Art 12:30 p.m.
Native American Art 3 p.m.
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17
Abundance 12:30 p.m.
5–8 p.m.
rubén garcia marrufo 6 p.m.
26
Highlights 3 p.m.
PUBLIC TOUR
Highlights 1 p.m.
THANKSGIVING
25
PUBLIC TOUR
PUBLIC TOURS
ARTIST TALK
19
15
10
Art Detectives 12:30 p.m.
Being Present
All Things Being Equal... 3 p.m.
Highlights: 3 p.m FAMILY TOUR
PUBLIC TOURS
11
3
CLOSES
PUBLIC TOURS
THE NUMBERZ LIVE BROADCAST
Highlights 3 p.m.
30
24
DECEMBER MON
TUE
2019
WED
THUR
FRI
SAT
SUN FAMILY TOUR
Fashion and Art 12:30 p.m. FILM + IN DIALOGUE (following the film)
D
Life and Debt 2 p.m.
PUBLIC TOUR
Highlights 3 p.m. BABY MORNING
PUBLIC TOUR
E
Nature in Art 10 a.m.–12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOURS
FAMILY TOUR
Northwest Art 3 p.m.
PUBLIC TOUR
Drawing is Seeing 12:30 p.m.
PUBLIC TOURS
Highlights 1 p.m.
1
Where the Wild Things Are! 12:30 p.m. Highlights 3 p.m.
Meditation 5:30 p.m.
3
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2
4 MIDDAY ART BREAK
5 PUBLIC TOURS
12:30 p.m.
6 PUBLIC TOUR
Highlights 1 p.m.
Slow Looking 6 p.m.
LECTURE
O
10 ART & CONVERSATION
11 PHOTOGRAPHY COUNCIL BROWN BAG TALK
9:15 Coffee 10:15 a.m. Lecture
Noon
12 PUBLIC TOURS
13 PUBLIC TOUR
Highlights 1 p.m.
Slow Looking 6 p.m.
L 16
Where the Wild Things Are! 12:30 p.m.
FILM
FILM
PUBLIC TOURS
PUBLIC TOUR
All Things Being Equal... 3 p.m.
American Revolutionary 2 p.m.
14
Highlights 3 p.m.
PUBLIC TOURS
FAMILY TOUR
All Things Being Equal... 3 p.m.
PUBLIC TOUR
15
Let’s Imagine! 12:30 p.m. Asian Art 3 p.m.
ARTIST TALK
Melanie Stevens 6 p.m.
17
18
19 PUBLIC TOURS
20 PUBLIC TOUR
Highlights 1 p.m.
C 23/30
10 a.m.–5 p.m.
Listening to Art 12:30 p.m.
Meditation 5:30 p.m.
8 FAMILY TOUR
Malcolm X: Make it Plain 1:30 p.m.
Arnold Newman Distinguished Lecturer in Photography 6 p.m.
9
7 SHARON L. MILLER AND FAMILY COMMUNITY FREE DAY
Slow Looking 6 p.m.
5:30 p.m.
25
26
27
22
PUBLIC TOURS
FAMILY TOUR
Highlights 3 p.m.
PUBLIC TOUR
New Year’s Resolutions 12:30 p.m.
NEW MEMBER TOUR
24/31
21 New Year’s Resolutions 12:30 p.m. Native American Art 3 p.m.
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JANUARY MON
TUE
2020 WED
THUR
FRI
BABY MORNING
SAT
PUBLIC TOUR
New Year’s Resolutions 10 a.m.–12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOURS
FAMILY TOUR
All Things Being Equal... 3 p.m.
FILM
Seeing Science in Art 12:30 p.m.
PUBLIC TOURS
Highlights 1 p.m.
D
SUN Mythology in the Museum 12:30 p.m. Eternal Sunshine of the Spotless Mind 2 p.m.
Meditation 5:30 p.m.
1 MIDDAY ART BREAK
PUBLIC TOUR
2 PUBLIC TOUR
Highlights 1 p.m.
E
12:30 p.m.
3 PUBLIC TOUR
Slow Looking 6 p.m.
4
Highlights 3 p.m.
PUBLIC TOURS
CLOSES
All Things Being Equal... 3 p.m.
FAMILY TOUR
5
All Things Being Equal... Question Bridge: Black Males
Mythology in the Museum 12:30 p.m.
Who, What, When, Where, Why?: 12:30 p.m. FILM + IN DIALOGUE (following the film)
An Oversimplification of Her Beauty: 2 p.m.
7
S
6
8 PHOTOGRAPHY COUNCIL BROWN BAG TALK
Noon
9 PUBLIC TOURS
10 PUBLIC TOUR
Highlights 1 p.m.
11
Meditation 5:30 p.m.
FAMILY TOUR
European Art 3 p.m.
PUBLIC TOUR
Highlights 3 p.m.
O
maximiliano 6 p.m.
13
14
15
ART & CONVERSATION
16 PUBLIC TOURS
9:15 Coffee 10:15 a.m. Lecture
Highlights 1 p.m.
21
22
NORTHWEST ART COUNCIL A NECESSARY IRRITANT
PORTLAND FINE PRINT FAIR
PUBLIC TOUR
PUBLIC TOURS
FAMILY TOUR
Contemporary Art 3 p.m.
PUBLIC TOUR
10 a.m.–5 p.m.
24 Slow Looking 6 p.m.
6:30 p.m.
28
29
30
10 a.m.–5 p.m.
Art & Literature 12:30 p.m.
PUBLIC TOUR
Highlights 1 p.m.
19
PORTLAND FINE PRINT FAIR
23 PUBLIC TOUR
18
PORTLAND FINE PRINT FAIR BENEFIT
Slow Looking 6 p.m.
L
5:30 p.m.
20
17 6–9 p.m.
NEW MEMBER TOUR
C
12
Fashion and Art 12:30 p.m.
ARTIST TALK
27
Highlights: 3 p.m.
PUBLIC TOURS
Prints in the Galleries 12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOUR
31
Who, What, When, Where, Why? 12:30 p.m.
25
Highlights 3 p.m.
26
1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430
VOLCANO! Mount St. Helens in Art FEBRUARY 8 – MAY 24, 2020
George Johanson (American, born 1928), Under the Volcano, 1984, color etching on paper, Gift of the Artist.