SPRING 2019
the map is not the territory curator of native american art year in review
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FROM THE DIRECTOR
3 EXHIBITIONS & INSTALLATIONS
19 NORTHWEST FILM CENTER
Portland International Film Festival
Japanese Currents
the map is not the territory
Genrified! Cult & Other Curiosities
Associated American Artists: Prints for the People
Case of the Mondays
APEX: Steven Young Lee
Summer Film Camps for Kids and Teens
Sun, Shadows, Stone: The Photography of Terry Toedtemeier
Mickalene Thomas
23 MEMBERS & PATRONS
Around the Galleries
Patron Exclusives
Hank Willis Thomas
Just for Members
The Standard Charitable Foundation
13 NEWS & NOTEWORTHY
Kathleen Ash-Milby, Native American Art Curator
Year in Review
Cowles Gift
Mark Family Gift
Rembrandt Acquisition
27 PROGRAMS & ACTIVITIES
Exhibition Programs
Additional Programs
Ongoing Programs
Public Programs
35 GIFTS & GATHERINGS
45 CALENDAR PORTAL, VOL. 8, ISSUE 1
Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-276-4249. For general information call 503-226-2811. The mission of the Portland Art Museum is to serve the public by providing access to art of enduring quality, by educating a diverse audience about art, and by collecting and preserving a wide range of art for the enrichment of present and future generations. COVER/OPPOSITE: Annette Bellamy, Moving Mountains, detail, 2017, stoneware, UV reisistant line, steel pins, epoxy; Ryan Pierce, Stanley Falls, 2016, Flashe and spray paint on canvas over panel; Joseph Hirsch (American, 1910-1981), Banquet (detail), 1945, lithograph on beige wove paper, Gift of Christopher Russell, 2015.21.1; Terry Toedtemeier (American, 1947-2008), Pothole Erosion, Big Wood River, Lincoln County, Idaho (detail), 1995, gelatin silver print, Museum Purchase: Funds provided by Melvin and Mary Mark, Jr., © Estate of Terry Toedtemeier, 1995.74.
FROM THE DIRECTOR This spring, the Portland Art Museum celebrates the art of where we live. Opening February 9, the map is not the territory launches a new series featuring artists of the coastal Pacific Northwest, from Oregon up to Alaska. This exhibition represents the vision of Grace Kook-Anderson, the Museum’s Arlene and Harold Schnitzer Curator of Northwest Art. Since she arrived two years ago, Grace has brought a unique sensibility to the exhibitions and programs of our Center for Northwest Art. The center was created in 2000 thanks to the vision and generous support of Life Trustees Arlene and the late Harold Schnitzer, who had a simple, but grand vision: to live in a culturally vibrant city among a community of artists. The map is not the territory builds on the Museum’s history of showcasing artists of the region, reaching back to the long-running Oregon Biennial and its successor the Contemporary Northwest Art Awards. The exhibition grew out of a generative conversation between the curator and the artists, with the theme emerging organically through studio visits and discussion of the artwork. The spirit of collaboration can also be seen in the Museum’s new approach to education. The group tasked with art education at the Museum is now called the Department of Learning and Community Partnerships. This change of name reflects an evolution already evident at the Museum, as we have built deeper relationships with artists and community partners, as well as opened up the spaces of the Museum to a diverse range of voices and perspectives. In recent years, we have expanded our work with teachers and schools, built a growing network of community partnerships, and made a commitment to advancing equity and inclusion through all of our work. This past year we celebrated a milestone anniversary—125 years of mission-based programs and collecting. Our Museum has a long history of dedication to regional artists, including Native American artists, and to education. We are committed to continuing these important initiatives and evolving so that we may continue to learn from the communities we serve. Thank you for being part of these conversations and for your support of great art and great communities.
Brian J. Ferriso The Marilyn H. and Dr. Robert B. Pamplin Jr. Director Chief Curator Brian Ferriso in the Northwest galleries with Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art 2 PORTLAND ART MUSEUM
EXHIBITIONS & INSTALLATIONS
mean to make art in this region today, and what are the immediate inspirations and pressing concerns that drive each artist’s work?
THE MAP IS NOT THE TERRITORY FEBRUARY 9 – MAY 5, 2019
The map is not the territory is part of a triennial series featuring regional artists exploring place and boundaries. This inaugural exhibition focuses along the eastern edge of the Pacific Ocean stretching from Oregon through Washington and Vancouver, B.C., up to Alaska. The artists in this exhibition seek to reconceive and reimagine the Northwest. What does it
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Through a culmination of studio visits, conversations with the artists, and shared readings, connective themes have surfaced for this exhibition. The map is not the territory is a generative conversation about our connections to the land, efforts toward decolonization, bringing indigenous values to the forefront, and a celebration of the region’s kinship. The artists in the exhibition are Annette Bellamy, Fernanda D’Agostino, Jenny Irene Miller, Mary Ann Peters, Ryan Pierce, Rob Rhee, Henry Tsang, and Charlene Vickers. Geography connects the artists, but so does a deep sense of place and displacement in a moment when the effects of global climate change create a more urgent reconsideration of systemic values. While Bellamy responds directly to the land and ocean defined by her commercial work, D’Agostino and Peters point to severe moments of disconnect. Miller works to decolonize sexuality through the process of
CLOCKWISE FROM LOWER LEFT: Rob Rhee, Occupations of Uninhabited Space, detail, 2018, cultivated gourd, mild steel; Ryan Pierce, Stanley Falls, detail, 2016, Flashe and spray paint on canvas over panel; Annette Bellamy, Moving Mountains, detail, 2017, stoneware, UV resistant line, steel pins, epoxy; Fernanda D’Agostino, Borderline, detail, 2018, 2 projectors, 13 scenes set up in a software to combine imagery in a 169 combinations; Charlene Vickers, Ominjimendaan, to remember, installation of Urban Shaman at Winnipeg, MB, 2012; Henry Tsang, Riot Food Here, 2018, public performance; Jenny Irene Miller, Continuous: Bethany Horton, 2016, digital pigment print. Courtesy of the artists.
Pierce and Rhee speak to a resilience found in elements in nature that thrive and hold longevity beyond human time.
photography and narrative, asking, “How do we as indigenous people decolonize our sexualities, genders, and the way we treat individuals who identify outside of the standard binary male or female?” Tsang works closely with the Chinook Nation to revisit the 1851 Tansy Point Treaty, which was signed in good faith but never ratified by the federal government. To this day, the Chinook Nation is still striving to achieve official recognition. Vickers, despite a long residence in Vancouver, British Columbia, creates installations and performances that expose deep connections to her home and family of Ojibway ancestry, entwining healing body processes closely tied to her homeland.
The exhibition title, the map is not the territory, derives from a remark by philosopher Alfred Korzybski, expressing the essential distinction between an object and its representation—or, more broadly, between our beliefs and the underlying reality. Through the field of general semantics, Korzybski’s intent was to improve the ways people interact with one another and the environment, particularly through critical use of words and other symbols in connection to our living experiences. In this vein, each artist has expanded their own practice and ideas while engaging with each other in preparation for the map is not the territory. A catalogue will also be published in conjunction with the exhibition, featuring an essay by the curator, as well as essays from Sasha Archibald, Demian DinéYazhi’, and Ashley Stull Meyers to further expand on these broader exhibition themes.
The next exhibition in the series in 2022 will examine the interior regions of Wyoming, Idaho, Montana, and eastern Oregon and Washington. PROGRAMS AND PARTNERING ORGANIZATIONS:
• Chinook Indian Nation • Multnomah County Library • Native American Youth and Family Center (NAYA) • Portland Meet Portland • Portland Public Schools Organized by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art, in collaboration with the Museum’s education department. Supported by The Arlene and Harold Schnitzer Endowments for Northwest Art, Exhibition Series Sponsors, Ed Cauduro Fund of the Oregon Community Foundation, the Northwest Art Council of the Portland Art Museum, and Sue Horn-Caskey and Rick Caskey.
About the artists: ANNETTE BELLAMY (B. 1951 IN SEATTLE,
JENNY IRENE MILLER (B. 1988 IN NOME,
WASHINGTON; LIVES IN HALIBUT COVE,
ALASKA; LIVES IN ANCHORAGE, ALASKA)
ALASKA)
Annette Bellamy’s art represents the aesthetics of a lifestyle rich and full of contrasts. She has lived in coastal communities and fished commercially in Alaska for more than 40 years, and her work references time on the water, days in remote areas, and travel. Bellamy’s roots as a potter are reflected throughout her work, from the materials and processes she uses to the variety of clay bodies and firing techniques. She uses other materials such as metal, fish skin, flowers, and aged wooden tools to extend the possibilities of clay and to tell a distinct, unique story.
FERNANDA D’AGOSTINO (B. 1950 IN TRENTON, NEW JERSEY; LIVES IN PORTLAND, OREGON)
Fernanda D’Agostino’s installations bridge the divide between the digital and the real to create immersive, time-based works that unfold in surprising ways. Using architecture, interactive video, and sound, she choreographs an experience unique to each viewer, enfolding them in a fully immersive space.
Annette Bellamy, Moving Mountains, detail, 2017, stoneware; Fernanda D’Agostino, Borderline, detail, 2018, 2 projectors, 13 scenes set up in a software to combine imagery in a 169 combinations; Jenny Irene Miller, Continuous: Will Bean, 2016, digital pigment print.
Jenny Irene Miller, Inupiaq, is originally from Nome, Alaska. Her family roots originate from the village of Kiŋigin, or as it is known in English, Wales, Alaska. She is a photographer who also works with video and sound art. Jenny’s art is concept-driven—packed with themes of histories, current realities, decolonization, and identities—to encourage dialogue on important topics and issues in aims to defeat stereotypes and support healing.
Catalogue Essay Contributions by: ROBERT RHEE (B. 1982 IN BRONX, NEW MARY ANN PETERS (B. 1949 IN BEAUMONT, TEXAS; LIVES IN SEATTLE, WASHINGTON)
Mary Ann Peters is an artist whose combined studio work, installations, public art projects, and arts activism have made noted contributions to the Northwest and nationally for over 30 years. Most recently, her work has focused on the overlap of contemporary events with splintered histories in the Middle East.
YORK; LIVES IN SEATTLE, WASHINGTON)
Robert Rhee is a collector of accidents, a rubbernecker. He is an interdisciplinary artist, writer, and organizer of collaborative artist projects. In his current work, he pursues situations on the precipice of formlessness, where a system is engaged but not controlled. He uses time (duration) to move ideas back and forth between modes: a sculpture conceived like a story, a poem worked on with power tools.
HENRY TSANG (B. 1964 IN HONG KONG; LIVES IN VANCOUVER, BRITISH COLUMBIA, CANADA)
RYAN PIERCE (B. 1979 IN FORT BRAGG, CALIFORNIA; LIVES IN PORTLAND, OREGON)
Ryan Pierce makes paintings, sculptures, and texts, and facilitates journeys inspired by the resilience of the natural world. He draws on influences from ecological theory, literature, and folk art to suggest visions of a near future amid dramatic climate change. Pierce is the cofounder of Signal Fire, a group that facilitates wilderness residencies and retreats for artists of all disciplines.
Henry Tsang is a visual and media artist whose work has been exhibited internationally. His artworks incorporate digital media, video, photography, language and sculptural elements that follow the relationship between the public, community and identity through global flows of people, culture, and capital. CHARLENE VICKERS (B. 1970 IN KENORA, ONTARIO; LIVES IN VANCOUVER, BRITISH COLUMBIA, CANADA)
Charlene Vickers is an Anishnabe artist based in Vancouver. Raised in Toronto, Vickers explores her Ojibway ancestry through painting, sculpture, and performance exploring memory, healing, and embodied connections to ancestral lands.
Mary Ann Peters, impossible monument (on my eyes and my head), detail, 2015, baking flour; Ryan Pierce, The River in the Cellar #2: The Seal of Collective Song, 2018, Flashe and ink on paper; Robert Rhee, Occupations of Uninhabited Space, detail, 2018, cultivated gourd, mild steel; Henry Tsang, Riot Food Here, 2018, public performance; Charlene Vickers, Remember Forget, for Redwing, 2006, beer case moccasins with porcupine quillwork on moosehide, wool blanket, chair, 2006. Photo: Artspace, Peterborough, Ontario. Courtesy of Lee Plested.
Sasha Archibald writes about shipwrecks, feelings, light, failed careers, renegade women, indexes, cats, and many other things. Her nonfiction essays about 20th-century aesthetics and visual culture have appeared in Cabinet, The Believer, East of Borneo, Rhizome, X-TRA, The New Inquiry, Los Angeles Review of Books, and other magazines, and in a number of books and catalogues. She teaches art theory and criticism at Portland State University and Pacific Northwest College of Art. Ashley Stull Meyers is a writer, editor, and curator. She has curated exhibitions and public programming for a diverse set of arts institutions along the West Coast. She is currently Northwest Editor for Art Practical and has contributed writing to Bomb Magazine, Rhizome, Arts.Black, and SFAQ/NYAQ. In 2019, Stull-Meyers will co-curate the Portland Biennial hosted by Disjecta Contemporary Art Center. Demian DinéYazhi’ is a Diné transdisciplinary artist born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) and Tódích‘ íí’nii (Bitter Water). His practice is rooted in Radical Indigenous Queer Feminist ideology, landscape representation, memory formation, HIV/AIDSrelated art and activism, poetry, and curatorial inquiry. He is the founder and director of the artist/activist initiative RISE: Radical Indigenous Survivance & Empowerment, which is dedicated to education, perseverance, and evolution of Indigenous art and culture.
ASSOCIATED AMERICAN ARTISTS: PRINTS FOR THE PEOPLE APRIL 6 – AUGUST 18, 2019
The Associated American Artists (AAA) revolutionized modern print collecting in the period following the Great Depression. Founded by Reeves Lewenthal in 1934, the AAA aimed to provide affordable fine works of art to the middle and upper classes across the United States. Publishing limited print editions of 250 to be sold for $5 apiece (roughly $88 today), the AAA brought prints to the people through mail-order campaigns, department store sales, and eventually a traveling-exhibition program. Lewenthal controlled which artists and subjects were published under the AAA name, focusing on themes that represented the “American Scene.” Rejecting European modernism and abstraction, Lewenthal selected American Regionalist and Social Realist works that explored the communities and lifestyles of everyday people, as well as prominent social concerns of the 1930s and ’40s. While the AAA gained notoriety for publishing popular artists like Grant Wood, Thomas Hart Benton, and John Steuart Curry, Associated American Artists extends its reach to prints by lesser-known artists, foreign artists working in America, and Latin American printmakers. The labor and leisure of farm life, industrial life preand post-war, and family dynamics of the time all permeated the works of AAA artists and are showcased in this exhibition. Organized by the Portland Art Museum and curated by Chyna Bounds, Research Assistant for Prints and Drawings. This exhibition is supported in part by the Vivian and Gordon Gilkey Endowment for Graphic Arts and the Exhibition Series Sponsors.
APEX: STEVEN YOUNG LEE FEBRUARY 23 – AUGUST 11, 2019
Taking inspiration from two significant works from the Museum’s Korean collection of 19th-century Joseon dynasty art, Steven Young Lee reconsiders these objects with a contemporary twist. For the APEX exhibition series, Lee visited the Museum this past summer to research objects in the Korean collection and specifically to focus on Dragon Jar and Tiger and Magpie, a common theme in Korean folk painting. At once fascinated by the excellence of these objects, Lee overturns these pristine examples in his own practice—perfection becomes failure, classical motifs become popular characters, and elegance resides with kitsch. They are objects in navigating Lee’s own experience in Korean-American, cross-cultural identity and upbringing. In the context of these new bodies of work, Lee will be adding an older installation from 2005, of a pagoda of rabbits. The work stems from Lee’s evolving awareness of his place in the Chinese zodiac: Having first believed himself to be born under the zodiac sign of a rabbit, only to learn in his visits in East Asia that he is really a tiger, Lee turns the imagery into a preoccupation of form—a tower of many taunting rabbits. Based in Helena, Montana, Lee has been the resident artist director of the Archie Bray Foundation for the Ceramic Arts. He is represented by the Duane Reed Gallery, Ferrin Contemporary, and The Archie Bray Foundation Gallery. APEX is an ongoing series of exhibitions of Northwest-based artists, curated by Grace Kook-Anderson, The Arlene and Harold Schntizer Curator of Northwest Art. The APEX exhibition series is supported in part by The Arlene and Harold Schnitzer Endowments for Northwest Art and the Exhibition Series Sponsors.
APEX: 10 Years In January the Museum released a special publication celebrating 10 years of the APEX exhibition series spotlighting Northwest artists. The book includes essays for each of the exhibitions, with an introduction by Northwest Art curator Grace Kook-Anderson; conversations with her predecessors, Jennifer Gately and Bonnie Laing-Malcolmson; and a reflection by Stephanie Snyder, the John and Anne Hauberg Curator and Director at the Douglas F. Cooley Memorial Art Gallery, Reed College. Sponsored by the LEFT: Joseph Hirsch (American, 1910-1981), Banquet, 1945, lithograph on beige wove paper, Gift of Christopher Russell, 2015.21.1; TOP: Steven Young Lee, Dragon Jar, Joseon, 19th Century, porcelain with decoration painted in cobalt blue under transparent glaze, Gift of Robert and Sandra Mattielli in honor of Donald Jenkins, 2004.7.10,
PORTLAND ART MUSEUM 7
SUN, SHADOWS, STONE: THE PHOTOGRAPHY OF TERRY TOEDTEMEIER MARCH 9 – AUGUST 4, 2019
Lifelong Oregonian Terry Toedtemeier (1947 – 2008) was a dedicated photographer, photography teacher, and the Portland Art Museum’s first curator of photography. His many notable professional activities—from cofounding Portland’s Blue Sky Gallery to rapidly growing the Museum’s photography collection—never took away from his deep passion for making his own photographs. Toedtemeier’s artistic legacy is explored in Sun, Shadows, Stone, the first exhibition to feature works from all phases of his career. A self-taught photographer who studied geology in college, Toedtemeier began experimenting with the medium during the 1970s, focusing on his friends and colleagues as subjects. By the 1980s he attracted wider critical attention through his landscape images, which were influenced by his deep understanding of both the photography traditions of the American West and the land’s underlying geology. He traveled throughout Oregon, paying particularly close attention
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to the Columbia River Gorge, the coastline, and the arid southeast, enthralled by the diversity of terrain contained within the state’s borders. Digital and color photographs created shortly before the end of his life demonstrate Toedtemeier’s ever-present willingness to experiment and see anew through the camera’s lens. Organized by the Tacoma Art Museum and curated by Rock Hushka, TAM’s Deputy Director and Chief Curator. Curated in Portland by Julia Dolan, Ph.D., The Minor White Curator of Photography.
TOP: Terry Toedtemeier (American, 1947-2008), Derrick Cave, Lake County, Oregon, 1992, gelatin silver print, Museum Purchase: Funds provided by Anne and James Crumpacker, © Estate of Terry Toedtemeier, 1995.73; Terry Toedtemeier (American, 1947-2008), Pothole Erosion, Big Wood River, Lincoln County, Idaho, 1995, gelatin silver print, Museum Purchase: Funds provided by Melvin and Mary Mark, Jr., © Estate of Terry Toedtemeier, 1995.74; RIGHT: Mickalene Thomas, Do I Look Like a Lady? (Comedians and Singers), 2016.
MICKALENE THOMAS Do I Look Like a Lady? (Comedians and Singers), 2016 FEBRUARY 23 – AUGUST 31, 2019
The Portland Art Museum is pleased to present the recently acquired video installation Do I Look Like a Lady? (Comedians and Singers) by internationally renowned artist Mickalene Thomas. Thomas’s work addresses themes of beauty and identity expressed through the myriad subjectivities of African-American women. Her multidisciplinary practice includes painting, photography, installation, and film/ video and reconsiders black womanhood and desire through a queer lens. Her work has been exhibited and collected across the United States and abroad. This is the first work by Thomas to enter the Museum’s collection and represents the contemporary art program’s commitment to support the work of women artists and artists of color. In recent years, Thomas has turned to video production as a way to expand her critical
investigation into how mass media and entertainment distill the experiences of AfricanAmerican women into a handful of archetypes. Do I Look Like a Lady? (Comedians and Singers) presents a dynamic checkerboard of moving image footage featuring African-American actors and singers from across the 20th century: from Jackie “Moms” Mabley to Eartha Kitt, Whoopi Goldberg, Whitney Houston, and several others. The video focuses on their individual voices as they express heartbreaking roles, pointed lyrics, sharp jokes, and strong statements of resistance to the dominant culture. The work is a powerful, and often riotous, reflection on the roles of black women in the United States.
Museum to see an exhibition of Carrie Mae Weems’s work in 1994, and how that formative experience enabled her to see herself reflected in the art and led to her decision to become an artist. This exceptional story points to the impact of art and the possibilities that can be inspired inside the Museum’s galleries. The Contemporary Art Council was instrumental in providing seed funding for the purchase of this work. The Council continues to steward the Museum’s contemporary programming with extraordinary vision. To learn more about the activities of the Contemporary Art Council visit portlandartmuseum.org/ councils or call Jan Quivey at 503-276-4242.
The Museum is particularly honored to collect a work by Thomas, who lived in Portland as a young adult. She often speaks of visiting the
Mickalene Thomas (American, born 1971), Do I Look Like a Lady? (Comedians and Singers), 2016. Two-channel HD video projection. 72 x 132 inches. Museum Purchase: Funds provided by Robert Hale Ellis Jr. Fund for the Blanche Eloise Day Ellis and Robert Hale Ellis Memorial Collection, Contemporary Art Auction Proceeds, Contemporary Art Council, Contemporary Art Purchase Fund, 125 Women for the 125th Anniversary Fund, 2018.40.1 © 2019 Mickalene Thomas / Artists Rights Society (ARS), New York.
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AROUND THE GALLERIES Modern American Realism: Highlights from the Smithsonian’s Sara Roby Foundation Collection On view through April 28 on the second floor, Main Building The special exhibition from the Smithsonian American Art Museum continues this spring, with must-see artworks by artists including Edward Hopper, Honoré Sharrer, and Jacob Lawrence. The paintings and sculptures come from the foundation of Sara Roby, who championed and collected modern realist art. “My mother was an artist, and she collected these paintings to support the artists who were devoted to the work she loved,” says Sara Roby’s son, local resident and Museum supporter Joseph Roby. “Some of these works hung in my house while I was growing up; now they hang in the Smithsonian. It means a lot to me that kids and families in Portland can experience them, too.”
Not Fragile On view through June 9 in the Center for Contemporary Native Art “Familiar and everyday items are rarely seen as ceremonial,” artist Brittany Britton writes of her glass beaded work What She Carried/ what I brought (2017) in this group exhibition. “I associate a lawn chair that my great-grandmother carried with her as a medicine woman as a ceremonial object. In my studio, I copied that chair into a new object that occupies a space that is simultaneously ceremonial and everyday.”
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Please Participate, 2015 JEPPE HEIN (DANISH, BORN 1974)
On view on the first-floor mezzanine, Jubitz Center for Modern & Contemporary Art One of the Museum’s most popular recent Instagram posts is this photo of a family viewing Jeppe Hein’s inspiring neon work. You can participate by tagging @portlandartmuseum in your own memorable photos taken here.
Picturing Oregon On view through August 2019
Three Masters of Abstraction: Hagiwara Hideo, Ida Shōichi, and Takahashi Rikio
The Museum’s artistic celebration of our state continues through August with a final photography rotation of works by Douglas Frank (born 1948). Based in Portland, Frank captures Oregon’s scenic coastal and desert ranges through luminous platinum prints. In Sea Spires (ca. 1980), Frank arrests our attention with the iconic “Wizard’s Hat” in Bandon, Oregon, during a state of low tide.
On view through March 31, 2019, in the Adams Copeland Gallery For Three Masters of Abstraction, the Museum drew upon the collection assembled by Irwin Lavenberg, Research Associate for Japanese Art. Lavenberg says of Hagiwara Hideo’s Stone Flower: White, Yellow (1960), “This print, with its broken flower petals lying on weathered stone, speaks of winter coming.” For him, it evokes the not-unpleasant sadness in this 17th-century haiku by Matsuo Bashō (1644–1694): rocks wither even water is dried up freezing winter.
FAR LEFT: Edward Hopper, Cape Cod Morning, 1950. Oil on canvas, 34 1/8 x 40 1/4 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation; Brittany Britton, Hupa, born 1988, What She Carried/ what I brought, 2017, Glass beads, leather, aluminum lawn chair frame, Courtesy of the artist, L2018.73.1; RIGHT: Douglas Frank, Sea Spires, ca. 1980, platinum print, Bequest of Fae Heath Batten, © Douglas Frank, 1997.58.70, TOP: Jeppe Hein, Please Participate, 2015, neon tubes and transformers, Museum Purchase: Funds provided by the Contemporary Collectors Circle of the Portland Art Museum, © Jeppe Hein, Courtesy 303 Gallery, New York, 2017.39.1; MIDDLE: Hagiwara Hideo (1913-2007), Stone Flower: White, Yellow, 1960, Color woodblock print with mica on paper, printed on both sides, Courtesy of The Lavenberg Collection of Japanese Prints.
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Coming This Fall HANK WILLIS THOMAS: ALL THINGS BEING EQUAL… OCTOBER 5, 2019 – JANUARY 12, 2020
Hank Willis Thomas: All Things Being Equal… is the first major survey of the work of one of America’s most important conceptual artists. Throughout his career, Hank Willis Thomas (American, born 1976) has fearlessly addressed racism, inequality, and bias in bold, skillfully crafted works. Through photographs, sculpture, video, audience-activated digital animation, and collaborative public art projects, he invites us to consider the role of popular visual culture in perpetuating discrimination and how art can raise critical awareness in the ongoing struggle for social justice and civil rights. Organized by the Portland Art Museum and co-curated 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, the exhibition centers largely on the representation of the black body in American popular culture, both past and present. Thomas incisively exposes, assesses, and reclaims the messages embedded in news photographs, advertising images, slogans, and other prosaic materials, asking audiences to consider the impact of these messages on individual lives and society as a whole. The exhibition demonstrates Thomas’s inventive exploration of photography, advertising, and modern art and their many sociocultural ramifications. Sections explore gun violence and its toll in the African-American population; the unsettling relationship between the American athletic complex and AfricanAmerican men; the contemporary advertising imagery that perpetuates stereotypes; poetic text-based works that investigate how shifts in context transform meaning; and the transformation of documentary photographs taken during civil-rights demonstrations, apartheid resistance, and other social justice RIGHT: Hank Willis Thomas (American, born 1976), Branded Head, 2003, from the series Branded, Chromogenic print, Courtesy the artist and Jack Shainman Gallery, New York, © Hank Willis Thomas.
events into sculpture and interactive images forcing viewers to confront history in the present moment. The exhibition extends beyond museum walls and into direct contact with Portlanders through his socially engaged collaborative civic project For Freedoms and the interactive In Search of the Truth (Truth Booth). Hank Willis Thomas: All Things Being Equal… will be a thorough and scholarly— yet purposefully approachable— exhibition that situates the artist’s work within the larger field of American art history while encouraging communities within and beyond the museum space to engage with issues concerning race, difference, and inequality in America through the power of art. After its presentation in Portland, the exhibition will travel to Crystal Bridges Museum of American Art in Bentonville, Arkansas, and the Cincinnati Art Museum. A comprehensive companion publication, copublished with Aperture, features essays by the exhibition’s co-curators, as well as new scholarship by Professor Sarah Lewis (Harvard University), and an interview with the artist by Dr. Kellie Jones (Columbia University). The exhibition is sponsored in part by the Andy Warhol Foundation for the Visual Arts, the Henry Luce Foundation, the National Endowment for the Arts, the Zidell Family Foundation,
Ed Cauduro Fund of the Oregon Community Foundation, and Exhibition Series Sponsors.
NEWS & NOTEWORTHY
KATHLEEN ASH-MILBY TO JOIN MUSEUM AS CURATOR OF NATIVE AMERICAN ART our Museum’s relationship with our community and the region,” said Portland Art Museum Director Brian Ferriso. “We couldn’t be more excited by her appointment to this essential position.” The position is responsible for the care, research, and exhibition of objects in the Museum’s Native American art collection; researching and developing Native American and indigenous exhibitions; working on related educational programs; and building strong, active, and ongoing relationships and partnerships with Native communities.
Kathleen Ash-Milby will be the Museum’s new curator of Native American Art. Ash-Milby comes to the Museum from the Smithsonian National Museum of the American Indian (NMAI) in New York, where she serves as an associate curator. She will start work at the Museum in July. During her nearly 20-year tenure at the National Museum of the American Indian, AshMilby organized a number of important and influential exhibitions, including Transformer: Native Art in Light and Sound with David Garneau (2017), Kay WalkingStick: An American Artist (2015) with co-curator David Penney, C.Maxx Stevens: House of Memory (2012), HIDE: Skin as Material and Metaphor (2010), and Off the Map: Landscape in the Native Imagination (2007). She also recently opened Jeffrey Veregge: Of Gods and Heroes, a sitespecific mural at NMAI created by Jeffrey Veregge, a Salish artist of the Port Gamble S’Klallam, near Seattle. “Kathleen is a highly respected leader in the field. Her groundbreaking work and exciting vision will be important to deepening further
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Ash-Milby will take over a well-supported and growing department. Long renowned for the depth and diversity of its collections, the Native American Art department has evolved in recent years with a grant from the Institute of Museum and Library Sciences (IMLS) supporting research, digitization, and exhibitions. Among the projects recently funded by the IMLS is the Museum’s Center for Contemporary Native Art, an exhibition space and series dedicated to showcasing the work of contemporary Native American artists through a collaborative planning process. The Museum has greatly expanded the support and acquisition of contemporary Native American work in its permanent collection, adding works by rising artists such as Wendy Red Star and Nicholas Galanin. Both artists were represented in two major special exhibitions presented at the Museum in 2016 featuring the work of contemporary Native American artists, Contemporary Native Photographers and the Edward Curtis Legacy and Native Fashion Now.
range of stakeholders, including members of the Museum’s Native Advisory Board, a group of Native community leaders and artists who advise the Museum. “I have known Kathleen since she started working at the National Museum of the American Indian,” said acclaimed Portland artist Lillian Pitt. “I have been a member of the Native Advisory Board since it was founded, and while the hiring process was lengthy, I am so pleased that Kathleen accepted the job. She will make us all proud.” Ash-Milby has won a number of awards for her research and writing, and she served on the boards of the Aboriginal Curatorial Collective (2007–2012) and the American Indian Community House (2005–2007); she served as president of the Native American Art Studies Association from 2011 to 2015. She was also the curator and codirector of the American Indian Community House Gallery in New York City from 2000 to 2005. In addition to the exhibition catalogs for many of her exhibitions, she has been published widely, including essays in Art Journal and Art in America. Her work at NMAI included significant contributions to building the Smithsonian’s collection of contemporary Native art. A member of the Navajo Nation, she earned a Bachelor of Arts from the University of Washington and a Master of Arts from the University of New Mexico in Native American art history.
“I’m thrilled to be returning to the Northwest and joining the Portland Art Museum at such an important time in its growth,” said Ash-Milby. “Portland has such a vibrant community of Native artists and community members, and I’m looking forward to being a part of it.” The hiring process was inclusive of a broad
Karen weavers pose for a photo with education staff after demonstrating their weaving techniques in the European galleries. The weavers were a part of the Portland Meet Portland community gallery within the exhibition Common Ground.
EDUCATION EVOLUTION AT THE MUSEUM PUTS FOCUS ON COMMUNITY Over the past several years, the Portland Art Museum has expanded its commitment to community engagement and involvement. Recent programs, partnerships, and community advisory processes have pushed the Museum to be more than just a collection of objects and artwork, but also to be a site where conversations about the world around us take place.
Also supporting the department’s refocused goals are the formation of a new Accessibility Advisory Committee, a new full-time staff position to support museum-wide initiatives that promote accessibility, and a major grant from the Institute of Museum and Library Services (IMLS) to support an institutionwide effort to build capacities for expanded community engagement.
Realizing its role within a changing community, the Museum has developed innovative partnerships with individuals and organizations effecting change across a range of issues— including disability rights, social justice activism, celebrating immigrant and refugee communities, and supporting forwardthinking solutions to houselessness and transitional housing.
Alongside these changes, the Museum continues its commitment to working closely with teachers and schools, supporting ongoing programs, and creating compelling visitor experiences in special exhibitions and permanent collection galleries. These changes have been driven by the institution’s priorities of equity and inclusion while continuing a long history of education and community engagement.
To more fully support these efforts to engage a broader community, the Museum’s Education and Public Programs department has undergone changes in recent months. First and foremost is a change in the department’s name to the Department of Learning and Community Partnerships. This shift reflects a commitment to serve as a hub for arts learning in our region as well as a focus on building relationships across the community.
Building upon the lessons learned in the Object Stories project—storytelling, exhibition cocreation, and diversifying voices and perspectives—the Museum looks to bring this work forward more broadly across exhibitions and galleries. The new focus also brings fresh thinking to visitors’ learning experiences and the work of the passionate volunteer docents supporting that learning.
Visitors, teachers, and students have already seen some of these changes reflected in recent exhibitions and programs. For example, during the photography exhibition Common Ground, visitors experienced an entire gallery created with local nonprofit Portland Meet Portland to recognize the experiences of immigrants and refugees living in Portland. Last summer, members of Portland’s indigenous communities gathered at the Museum for a memorable dance ceremony celebrating Chilkat and Ravenstail weaving. This past November saw thousands of people attend the first-ever Día de Muertos community celebration at the Museum, planned in collaboration with local artists and community leaders. This spring the Museum will host the fourth annual HeART of Portland student arts showcase, working closely with Portland Public Schools and the Regional Arts and Culture Council on this celebration of this City’s Arts Tax and the incredible creativity of youth across this region. “We are excited to see more of these types of programs and partnerships in the future as we open up more ways for our community to get involved here at the Museum,” said Director of Learning and Community Partnerships Mike Murawski.
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YEAR IN REVIEW 2018 The 2017–2018 fiscal year was exceptional for the Portland Art Museum and Northwest Film Center. From exhibitions and acquisitions to public programs and partnerships and near record levels of visitors, the 125th anniversary year reinforced the positive impact the Museum has on our community.
The Museum and Northwest Film Center’s curators, programmers, and educators presented 28 exhibitions, nearly 500 films, and hundreds of public programs that represent, reflect, and celebrate the diversity of our community and visitors. These included showcasing the career of architect, preservationist, and collector John Yeon; presenting the creativity and craftsmanship of LAIKA Studios; featuring three generations of Wyeths; examining the complexities of photojournalism through the lens of Fazal Sheikh; introducing visitors to
Richard Diebenkorn’s early work; celebrating streamlined car design; and exploring the world through film. Animating Life: The Art, Science, and Wonder of LAIKA was a major achievement, attracting 259,000 visitors. In all, last year nearly 450,000 people visited and participated in Museum and Film Center programs—with one-third of those attending for free or at a reduced price, and children 17 and under always visiting for free. The Museum marked its 125th anniversary last year with a range of programs and exhibitions designed to honor the past, celebrate the present, and look ahead to the next 125 years. These included the exhibitions In the Beginning: Minor White’s Oregon Photographs and Picturing Oregon; programs like Curators in Conversation and Art & Beer: Pitchering
Oregon; and events like the Reflecting Forward Gala and the 125th Birthday Party Miller Family Free Day. This past year also marked a significant milestone at the Northwest Film Center. After nearly four decades as director, Bill Foster retired. During his tenure, the Film Center became the region’s premier media arts institution and is now recognized as a national model. Last year, the Museum’s education and public programs continued to offer opportunities for visitors and educators to a gain deeper understanding of not only art and film, but the world in which we live. Nearly 60,000 individuals participated in public programs and tours, including nearly 32,000 students. By cultivating and fostering partnerships within the community, the Museum enables its exhibitions, installations, and films to have a wider reach and greater impact. These partnerships included: • A close collaboration with the creative team at LAIKA during Animating Life. • Programs with Portland Meet Portland, the Muslim Educational Trust, The Immigrant and Refugee Community Organization (IRCO), and the South Asian American Arts Festival during Common Ground. • In-gallery demonstrations with Native communities and ceremonial traditions during Interwoven Radiance.
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Financial Highlights
• Partnering with community artists on the We.Construct.Marvels.Between.Monuments. exhibition series. • Serving as a key stop along Portland Bureau of Transportation’s Sunday Parkways Green Loop program. • Potluck in the Park Christmas dinner service. • Literary Arts’ Portland Book Festival. • Northwest Film Center collaborations with diverse range of community partners, including Portland Youth Philharmonic, Disabilities Film Festival, Oregon Justice Project, BodyVox, and Women in Film, among others. The Museum’s connection to students, educators, and school districts has continued to expand. For the third year, the Museum was proud to highlight the creative work of some 400 student artists and performers during The HeART of Portland, a Portland Public Schools arts showcase held in our ballroom and galleries. This past summer marked the inaugural Teacher Leadership Initiative, which fosters a learning community of K-12 teachers. In addition to the Museum’s workshops and professional development for more than 1,000 educators,
hundreds of classrooms around the city have requested posters that highlight our collection and provide teaching resources. Through their filmmaking classes, the Northwest Film Center taught more 900 students filmmaking and storytelling skills, including nearly 325 Portland Public Schools seventh graders as part of the “Maker Experience” program. During the past year, the Museum acquired nearly 500 works of art, including John Henry Twachtman’s River Village from 187778; a notable, 2,000-year-old Japanese jar; 18 Korean ceramics from the John Yeon Collection; a compelling video work by renowned contemporary artist Mickalene Thomas; Sonya Clark’s witty Penny Loafers from 2010; an outstanding wall piece by Marie Watt from 2017; two iconic photographs by celebrated photographer Dorothea Lange; and Rembrandt’s The Raising of Lazarus from 1642. The Library and Collections Information Department achieved a number of milestones, including completing the first phase of the Japanese Print Initiative to digitize the collection. Online collection usage continues to increase each year, and 50 percent of the collection is now online.
The Museum ended the fiscal year with a balanced budget for the seventh year in a row, and reported a $300,000 surplus thanks to excellent attendance and other earned income revenue. Highlights include a 24 percent increase in visitation, an increase in Store sales and rental income, progress on the expansion campaign fundraising, and an investment return of $4 million. Funding to support the Museum comes from a variety of revenue sources. Last year, approximately 24 percent came from admissions and memberships, 27 percent from contributions and grants, 17 percent from Museum Store sales and facility rental fees, and 14 percent from return on investment. The capital campaign in support of the expansion and renovation project accounted for 18 percent The majority of expenses were used in support of Museum and Film Center programs and to acquire and preserve art.
By the Numbers
450,000 people visited and
participated in Museum and Film Center programs, with nearly one-third of those attending for free or at a reduced price.
60,000 people participated in public programs, including lectures and in-gallery events.
1,043 educators attended professional development events throughout the year.
1,000
Nearly Museum and Film Center docents and volunteers generously donated their time.
1,500 high school students attended
free Northwest Film Center Global Classroom screenings, and 1,500 students of all ages attended classes at the Northwest Film Center.
TOP RIGHT: Minor White, Untitled (Broadway Bridge), ca. 1939, gelatin silver print, Courtesy of the Fine Arts Collection, U.S. General Services Administration. New Deal Art Project, L42.3.13; LEFT: 125th celebration; TOP RIGHT: The HeART of Portland; BOTTOM LEFT: Graham Combination Coupe, 1939, Photo: Peter Harholdt, Courtesy of Charles Mallory; BOTTOM RIGHT: Youth Program Coordinator Isatou Barry and members of the Youth Leadership Council of the Immigrant and Refugee Community Organization (IRCO) Africa House.
Collection: visual art closely tied to poetic traditions. This first gift includes many of the most striking works in that exhibition, spanning from the eighth-century Nigatsudō Burnt Sutra, the most ancient of the paintings, to an avantgarde modern work of expressionist calligraphy, Inoue Yūichi’s Shout (1961). “Cheney and Mary Cowles selected their gifts to our Museum with the same characteristic thoughtfulness, sensitivity, and deep understanding that they brought to assembling their remarkable collection,” says Dr. Graybill.
MUSEUM RECEIVES MAJOR GIFT OF JAPANESE ART FROM MARY AND CHENEY COWLES The gift of 22 outstanding works, recently on view in Poetic Imagination in Japanese Art, is the first in a planned series of gifts that will total 100 works. The Museum is honored to announce a major gift of Japanese artworks from collectors Mary and Cheney Cowles. The gift of 22 works of painting, calligraphy, and ceramics from the Cowles Collection is the first in a planned series over five years that will total 100 works. The artworks in the initial gift were all on view in the recent special exhibition Poetic Imagination in Japanese Art: Selections from the Collection of Mary and Cheney Cowles, which closed January 13.
recognized by scholars as one of the finest collections of Japanese art in private hands. The collection is exceptional in its quality and breadth, and unique in that it is deeply informed by classical Japanese taste as well as welcoming of idiosyncratic departures from the canon.
The Metropolitan Museum of Art in New York and the Smithsonian’s Freer|Sackler Gallery in Washington, D.C., will also receive substantial gifts from the Cowles Collection. While a number of the works in the Cowles Collection are well-known to Japanese scholars, the Museum’s recent exhibition and a well-attended international symposium in December were the English-speaking world’s introduction to these works. This spring, the Museum will present another valuable resource for appreciating the Cowles Collection, with the publication of a fully illustrated catalogue presenting new research by an international group of leading scholars. View the works in the Cowles gift in the Museum’s Online Collections at pam.to/cowles-gift.
Poetic Imagination in Japanese Art focused on one of the great strengths of the Cowles
“This extraordinary gift will have transformative impact on the Museum and the artistic resources on the West Coast,” said Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum. “Each of these artworks is among the finest of its type. The addition of these works to the Museum’s collection will make Portland a destination for people interested in researching and appreciating Japanese painting.” Formed over the past two decades, the collection of Mary and Cheney Cowles is
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TOP: Inoue Yūichi (Japanese, 1916-1985), Shout, 1961, hanging scroll; ink on paper, Gift of Mary and Cheney Cowles, © Unagami Masaomi, 2018.76.20; BOTTOM: Tōdaiji Scriptorium (Japanese), Section of Avatamsaka Sutra: the Nigatsudō Burnt Sutra, 744, handscroll fragment mounted as a hanging scroll; silver on indigo paper, Gift of Mary and Cheney Cowles, 2018.76.1; TOP RIGHT: Jean Louis Forain (French, 1852-1931), In the Wings, ca. 1888, colored pencil on paper, Bequest of Mary and Pete Mark, , 2018.77.12 ; BOTTOM RIGHT: Childe Hassam (American, 1859-1935), Duke Street, Newport, 1901, oil on canvas, Bequest of Mary and Pete Mark, , 2018.77.9
MUSEUM RECEIVES GIFTS OF ART FROM THE ESTATE OF MARY AND PETE MARK The Museum is pleased to announce the acquisition of 14 works of art from the estate of longtime supporters Mary and Pete Mark. The generous gift is the culmination of more than three decades of involvement and support from the Mark Family. Pete and Mary were Museum members, trustees, and Ella Hirsch Legacy Society Members, and in 2008, they were honored as Life Trustees, the Board’s most distinguished recognition.
The gift includes European and American paintings and drawings that significantly enhance the Museum’s permanent collection, and will offer visitors an excellent opportunity to see works by many important artists when they go on view next year. “Pete and Mary Mark provided such important support and leadership to this Museum during their lifetimes. They understood the importance of art to a great city, and believed deeply in our mission.” said Portland Art Museum Director Brian Ferriso. “This generous gift of art from their estate adds to an extraordinary family legacy, and I am grateful for the Mark family’s continued support.”
would be appreciated by the family and would eventually go to the Portland Art Museum. They enjoyed living among beautiful and historical items, but it was important for them to give back to the institutions of the city that they loved so much. “Mary had an incredible eye for beauty and quality, and Pete had the enthusiasm to purchase, which made them a great art collecting duo,” commented Jennifer Winship Mark. Previous gifts of art included significant works like Paul Gauguin’s Vue d’un jardin, Rouen (1884), Gustave Courbet’s Pommes, poires et raisins (ca. 1871/1873), and Severin Roesen’s Still Life of Flowers and Fruit (1870-1872). This gift from their estate includes a number of important works that will enhance the Museum’s European and Graphic Arts collection, including Henri Fantin-Latour’s Carnations and Peonies (1887); Pierre-Auguste Renoir’s Geraniums (ca. 1910-1919); Jacques-Émile Blanche’s St. Margaret’s Church, Un Dimanche de Juin (ca. 1903-04); Aristide Maillol’s Se Tenant un Pied (Holding a Foot) (1923); Maurice Utrillo’s Rue du Mont-Cenis, Paris, Montmartre (View of Montmartre) (1921); Albert Marquet’s Pons (1898) and Paris, Le Pont-Neuf (View of the Seine) (1946); Jean-Louis Forain’s In the Wings (ca. 1888); and Paul César Helleu’s Portrait of Madame Helleu (date unknown). “The Mark bequest constitutes one of the most significant gifts of European and American art in the 125-year history of the Museum,” said Curator of European Art Dawson Carr. “Thanks to Pete and Mary Mark’s love of still lifes, city views, and landscape paintings, the Museum will be able to represent these important genres better than ever before.”
The gift also includes American works such as John Singer Sargent’s San Geremia (1907–1913); Thomas Sully’s Portrait of Robert Ewing (1831); Childe Hassam’s Duke Street, Newport (1901); G. Ruger Donoho’s Egypt Lane, East Hampton (ca. 1900); and Grandma Moses’ Sugaring Off, Dark Sky (1948). The works will be featured as part of a yearlong installation in the Museum’s American galleries in the Main Building. Pete and Mary were among the most generous supporters in the history of the Museum. Their leadership and support were central to numerous capital projects, and their generosity helped underwrite nearly every special exhibition during their tenure as trustees. The Mark family’s dedication to the Museum is honored not only by the names of buildings, ballrooms, and galleries but by the shared experiences of visitors enjoying the same art that brought them great joy during their lifetimes.
According to the Mark family, Pete and Mary collected art knowing that many of the works
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MUSEUM ACQUIRES CELEBRATED REMBRANDT ETCHING ADAM AND EVE BY MARY WEAVER CHAPIN, CURATOR OF PRINTS AND DRAWINGS
This fall, the Museum added a significant print by Rembrandt van Rijn to its collection. Rembrandt’s 1638 etching Adam and Eve has long been celebrated for its naturalistic depiction and its delicate use of light and shadow.
Rembrandt van Rijn is regarded as the finest painter and printmaker of the Golden Age of Dutch art. He was a great innovator in both painting and etching, showing remarkable insight into the human condition. His fame was widespread in Europe throughout his own lifetime and has continued unabated, more than 400 years after his birth.
viewer and the figures, allowing us to relate to their indecision and temptation. As Rembrandt scholar Clifford Ackley observes, “Their vulnerable physical appearance, touchingly different from Dürer’s superhumans, seems already to reflect the consequences of the transgression they are in the very act of committing.”
The newly acquired etching depicts the temptation of Adam and Eve in the Garden of Eden. Eve stands at the center of the composition, apple firmly in hand as she turns to Adam, whose hand hesitates above the forbidden fruit. Above them, the serpent, depicted here as a winged dragon, waits expectantly with a second apple poised in its jaws.
Adam and Eve is now the most significant Rembrandt print in the Museum’s small but growing collection of Old Master prints. Other important works include the very rare Monk in Cornfield (1646), Self-Portrait in a Heavy Fur Cap, and The Raising of Lazarus (1642), acquired at the 2018 Portland Fine Print Fair.
Unlike versions of this scene by other artists, Rembrandt presents the couple as middleaged; as early as 1713, critics remarked on their unlovely forms; some critics complained that Rembrandt favored ugliness over beauty. Yet by casting Adam and Eve as ordinary mortals, the artist creates greater empathy between the
This acquisition was made possible by generous support from James D. Burke, Ann Flowerree, Willie Kemp, Flowerree Foundation, Portland Fine Print Fair Fund, Barbara and Robert Brady, Selby and Douglas Key, Dan Bergsvik and Don Hastler, Madelin Coit Fund in honor of Pam Berg, Sandra Hohf, and Diane and Dick Lowensohn.
PORTLAND FINE PRINT FAIR 2019
Benefit Preview
Free Tours
FRIDAY, JANUARY 25, 6–9 P.M.
JANUARY 25–27, 2019
Proceeds from ticket sales benefit the activities and acquisitions of the Department of Prints & Drawings.
CURATOR’S CHOICE WITH MARY WEAVER CHAPIN, PH.D.
Adam and Eve is not the only fine Rembrandt print newly joining the Museum’s collection: The Raising of Lazarus (1642) was acquired at the 2018 Portland Fine Print Fair. Join us for this year’s event, the largest and most comprehensive print fair on the West Coast. Peruse and purchase prints from 19 top dealers from across North America and Europe, with excellent works in all price ranges. Sponsored in part by the Graphic Arts Council of the Portland Art Museum, Morel Ink, and Framing Resource. For a full list of sponsors visit portlandartmuseum.org/printfair.
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SATURDAY, JANUARY 26, 1:30 P.M. SUNDAY, JANUARY 27, 11:30 A.M.
Advance tickets: $30 Museum Members; $40 general public.
ASIAN PRINTS WITH JEANNIE KENMOTSU, PH.D.
Night of the event: $50
ASIAN PRINTS WITH MARIBETH GRAYBILL, PH.D.
Free Admission
SUNDAY, JANUARY 27, 1:30 P.M.
SATURDAY, JANUARY 26, 10 A.M. – 6 P.M.
SATURDAY, JANUARY 26, 10:30 A.M.
Meet in the lobby of the Mark Building.
SUNDAY, JANUARY 27, 11 A.M. – 5 P.M.
Rembrandt van Rijn (Dutch, 1606–1669), Adam and Eve, 1638. Etching on laid paper, Plate: 6 1/8 × 4 9/16 inches, Sheet: 6 7/16 × 4 5/8 inches. Museum Purchase: Funds from James D. Burke, Ann Flowerree, Willie Kemp, Flowerree Foundation, Portland Fine Print Fair Fund, Barbara and Robert Brady, Selby and Douglas Key, Dan Bergsvik and Don Hastler, Madelin Coit Fund in honor of Pam Berg, Sandra Hohf, Diane and Dick Lowensohn, 2018.61.1.
NORTHWEST FILM CENTER
Sunday), has moved to March in hopes of better engaging Portland’s cinema-loving community and shifting the focus of our film love to smaller, intimate films that tell stories from real life. Let’s collectively take the opportunity to move beyond awards hype, where the same five to 10 films garner endless decoration, and see world cinema in its full splendor—its humor, its insight, and its empathy. This year’s edition of the festival will have a triple-fold focus: new films by established auteurs, films from areas not often represented in cinema (or whose national/regional cinema has not been extensively discussed), and films pointing a way forward for the art form in general.
BY MORGEN RUFF, EXHIBITION PROGRAM MANAGER & PROGRAMMER, NORTHWEST FILM CENTER
The Portland International Film Festival (PIFF) returns March 7–21 for its 42nd edition—and its first since 1980 operating without the leadership of ex-director Bill Foster, who retired last August after 37 years at the helm. Utilizing a variety of familiar venues across Portland to bring the finest in world cinema to the city,
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PIFF promises a broadly empathetic look inside a myriad of global cultures—showing both similarities and differences and celebrating our collective humanity through film. The festival, long held in February during the height of awards season frenzy (the day after the festival ended was traditionally Oscar
One of the 80+ feature films included in PIFF this year is Transit, the latest by German filmmaker Christian Petzold (Barbara, Phoenix)—a state-of-exception, noir-ish thriller set in Marseille during a suspiciously contemporary World War II-like period. A deeply haunting and puzzle-like film, TOP: Still from Transit (2018), Dir. Christian Petzold; RIGHT: Still from Ash Is the Purest White (2018), Dir. Zhangke Jia.
Transit cements Petzold’s place among cinema’s finest makers. With Jia Zhangke’s Ash Is Purest White, the Chinese master returns to his familiar Northern city of Datong and the Three Gorges Dam area in central China, where his unforgettable 2006 work Still Life excavated a rapidly diminishing memory of a place overrun by state infrastructure. With his latest, Jia directs his longtime collaborator Zhao Tao in the role of a lifetime, her character undergoing an arduous search for her former gangster-boss boyfriend. Finally, with New Directors pick Too Late to Die Young, exciting young Chilean director Dominga Sotomayor dramatizes the inner life of a teenage girl through her family’s getaway from the city to a remote compound, where she finds fleeting new love and is confronted by the harsh realities of adulthood. Throughout the year, the Film Center’s programming team has scoured the globe for thrilling new work like these three features—in addition to dozens of short films showcasing the latest in cinematic language.
Returning to PIFF this year is our collaboration with the Cine-Lit conference at Portland State University (March 8–10), led by Dr. Isabel Jaén Portillo. Focused on Spanish-speaking cinema, Cine-Lit brings filmmakers and scholars from around the world to Portland to celebrate Spanish and Latin American cinema in its various forms, inviting a variety of guests and hosting workshops, academic sessions, and filmmaker talks. In collaboration with Cine-Lit, PIFF will invite several filmmakers from these areas to join their films in Portland and to participate in post-film Q&As.
30 year-round and seasonal staff members who join us for the festival. It’s a truly gargantuan, loving effort by a deeply dedicated group of people committed to cinema as an art form. PIFF will also welcome back 350-plus volunteers, without whom the festival would absolutely not be possible. Through these volunteers’ enthusiasm and hard work, festival attendees can take in the finest of this year’s crop of new cinematic works—the vast majority of which will screen in Portland for the first (and often only) time at the Portland International Film Festival.
One of PIFF’s most exciting and missioncentric programs is the Global Classroom series (March 11–15), now in its seventh year. The series allows local high school students the opportunity to immerse themselves in world cinema through a series of screenings in the Whitsell Auditorium, provided to teachers free of charge and often integrating with their lesson plans. These screenings routinely reach capacity, serving an average of 2,000 students and, through engaging talkbacks with visiting filmmakers, tell us that the kids are alright.
As always, Portland Art Museum members receive a discount on PIFF tickets; starting in early February, please see the printed festival guide or nwfilm.org/festivals/piff.
Finally, PIFF would not be possible without our dedicated festival team, comprising more than
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JAPANESE CURRENTS APRIL 5-28
Like Japanese fashion and pop culture, Japanese film is perpetually in the international vanguard, blending traditional genres and classical forms with cutting-edge technology and dazzling, innovative imagery. This year’s 12th annual Japanese Currents series highlights recent noteworthy films, ranging from anime to jidaigeki, documentary to comedy, all while exploring issues important to contemporary Japanese society and the wider world. Collectively, films selected to screen in Japanese Currents offer a fresh take on the culture and showcase the wealth of creative invention at work in Japan today.
ENROLLMENT OPEN IN MARCH Summer Film Camps for Kids and Teens JUNE 17 TO AUGUST 17
Northwest Film Center Summer Camps spark creativity, encourage teamwork, and build skills for more than 200 youth each year. Throughout the summer, campers age 7 to 18 work in teams to write, direct, star in, and edit their own short films—all while learning filmmaking and editing basics. Each weeklong camp culminates in an exhibition of the campers’ films for family and friends at the Northwest Film Center. Camps for kids and teens entering grades 4–12 run weekly June 17 to August 17 at the Northwest Film Center, conveniently located at Southwest 10th Avenue and Salmon Street. Enrollment opens early March at nwfilm.org.
TOP: Still from Barton Fink (1991), Dir. Joel Coen; BOTTOM: Still from Vagabond (1985), Dir. Agnès Varda.
GENRIFIED! CULT & OTHER CURIOSITIES OCCASIONAL WEEKEND SCREENINGS
WHITSELL AUDITORIUM Presenting both new and classic horror, sci-fi, cult, international action, and just plain weird cinema, Genrified! Cult & Other Curiosities picks up the thematic threads established in the popular PIFF After Dark sidebar at the Portland International Film Festival and runs with them for audiences unafraid of unconventional thrills.
CASE OF THE MONDAYS ONGOING MONDAY-NIGHT SCREENINGS
WHITSELL AUDITORIUM This revolving, ongoing series of classic films and cutting-edge new work will get you moving into the week. Offering a broad look at cinema in all its various forms, with special attention to underseen or neglected work, the series focuses on classic American films both independently produced and studio-made, experimental cinema in all its various modes, essential foreign films from all over the world, and documentary both contemporary and historical.
MEMBERS & PATRONS
PATRON SOCIETY In recognition for their generosity, Patron Society members are offered a host of exclusive opportunities throughout the year designed to enhance their connection to the Portland Art Museum in new and meaningful ways. To learn more about the Patron Society and any of the opportunities listed below, or to RSVP, visit portlandartmuseum.org/patron-society or call 503-276-4365.
THE MAP IS NOT THE TERRITORY OPENING RECEPTION February 8, 2019 Celebrate the inaugural exhibition in a new triennial series that includes Alaska and Vancouver, B.C., as part of the Museum’s Northwest Art program for the first time. Join us for a private exhibition preview with the artists, followed by a special reception.
SAVE THE DATE PARIS 1900 GALA JUNE 29, 2019
Save the date for the Portland Art Museum’s annual gala in celebration of the grandeur of Paris 1900. Table sponsorships available. Please contact Susan Whittaker at susan.whittaker@pam.org or 503-276-4303 for more information.
PARIS 1900 BEHIND THE SCENES MARCH 12, 2019
Enjoy a behind-the-scenes glimpse of the Portland Art Museum’s efforts to bring the remarkable Paris 1900 exhibition to Portland. Organized in collaboration with the City of Paris’ Petit Palais, with exceptional loans from the Musée Carnavalet and the Palais Galliera, this exhibition will immerse visitors in the atmosphere of the Belle Époque.
MEMBER EVENTS VISITING THE MUSEUM AS A MEMBER
COFFEE WITH A CURATOR
Admission is FREE for all current members (a savings of up to $20 per ticket).
March 5, 2019 We invite our newest members of the Patron Society to join us for a morning at the Museum with Grace Kook-Anderson, our Arlene and Harold Schnitzer Curator of Northwest Art. Come hear about the artworks, history, and exhibitions that make our Museum unique in the Northwest.
MEMBER APPRECIATION WEEK APRIL 8–14
We appreciate our members—let us show it! Join us for a week of members-only perks, with something new each day of the week: tours, giveaways, extra guest days, additional discounts, and more! Watch your email this spring for a schedule with more details.
How to reserve tickets for Museum admission: Online: Be sure to sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added tickets to your shopping cart and proceeded to the checkout. Remember to print your e-ticket/ receipt and present it at the Museum’s box office for entry. On site: Visit the Museum’s box office and check in with your membership card* for admittance. *Current membership card and photo identification will be required for entry on the day of your exhibition visit. Member tickets are limited to the named individuals on your membership cards.
Do we have your email? Don’t miss out! Register online to receive our electronic notifications and monthly e-news. Sometimes special member opportunities become available on short notice. When this happens, the only way for us to quickly communicate with you is via email. Visit portlandartmuseum.org and never miss another announcement. Questions about your membership status? Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs. Please take a moment to review this important information. Henri Gervex (1852–1929), An Evening at the Pré-Catelan, 1909. Oil on canvas, 85 3/8 x 125 1/4 in., Musée Carnavalet, © Musée Carnavalet / Roger-Viollet.
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SETTING THE STANDARD FOR ARTS SUPPORT The Standard continues its strong backing for the Museum with a gift to the Connections Campaign. significant investment in the Museum’s and our city’s future. I want to thank in particular Bob Speltz, Justin Delaney, and Greg Ness for their committed leadership.” The Standard has a longstanding history of giving back that dates to its inception in 1906 as an insurance company serving families in the Pacific Northwest. Since 2007, The Standard Charitable Foundation, The Standard and its employees and retirees have contributed more than $35 million in grants and social investments here in Oregon and across the U.S. In October, The Standard was recognized by Americans for the Arts’ Business Committee for the Arts and named one of the 10 Best Businesses Partnering with the Arts in America. This award celebrates companies and philanthropists who give to the advancement of arts and arts education. This is only the second time an Oregon company has received this prestigious recognition. Last fall, the Portland Art Museum was honored to receive a major gift from Standard Insurance Company for the Connections Campaign in support of the planned Rothko Pavilion. Standard Insurance Company, a Portland-based financial services company known as The Standard, is a stalwart supporter of the Museum and has received national recognition for its longstanding support of the arts. The Standard donated $250,000 to the Museum’s capital campaign to build the new Rothko Pavilion, which will connect the Museum’s two buildings and enhance accessibility for all visitors. As one of the nation’s leading providers of disability insurance, The Standard is interested in supporting universal design elements, which will make this institution one of the most accessible museums in the Pacific Northwest. “We’re pleased to be a part of this landmark project at the Portland Art Museum, and
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particularly that our support will make the Museum even more accessible for individuals of all abilities,” said Greg Ness, chairman, president and chief executive officer of The Standard. “We believe the Rothko Pavilion will begin an exciting new chapter for the Museum and for the downtown Portland cultural district.” This is not the first time The Standard has backed a major capital improvement project at the Museum; in 2005, the company supported the renovations to the Museum’s Mark Building that added significant new gallery space for contemporary art. Over the years, the foundation has also given generous support to the Museum’s exhibitions and operations. “The Standard has an extraordinary legacy in Portland. Their dedication is an example of the importance of community-minded companies to organizations and civic institutions,” said Museum Director Brian Ferriso. “I am grateful for their ongoing philanthropy, and for this
Bob Speltz, Senior Director of Public Affairs, who accepted the award at the New York City BCA 10 event on behalf of The Standard, spoke of The Standard’s long history of supporting arts in the community. “We’re especially proud of the support we’ve directed to, and the great partnerships we have formed with arts and culture organizations,” Speltz said. “The arts have a unique ability to bring our communities together, to challenge conventions and to prepare our next generation of leaders to think creatively.” To learn more about how your organization can support the Portland Art Museum’s mission, contact John Goodwin at john.goodwin@pam.org or 503-276-4303.
Alessandra Di Giusto, Vice Chair of the Board for Americans for the Arts, presenting a 2018 BCA 10 Award recognizing arts philanthropy to Bob Speltz, Senior Director of Public Affairs at The Standard.
PROGRAMS & ACTIVITIES
PORTLAND ART MUSEUM 29
THE MAP IS NOT THE TERRITORY Opening Artist Talks
Artist Performance
THE MAP IS NOT THE TERRITORY
CHARLENE VICKERS
FEBRUARY 10, 2 P.M.
MARCH 22, 6:30 P.M.
Grace Kook-Anderson, The Arlene & Harold Schnitzer Curator of Northwest Art, welcomes the map is not the territory artists for a lively PechaKucha–inspired series of opening talks. PechaKucha is a presentation format in which speakers share 20 images for about 20 seconds each on a given topic. Join us for this fastpaced (and experimental) introduction to the artists, themes, and ideas presented in this newly reimagined regional art triennial. The artists will be available in the exhibition galleries afterward to answer questions and talk further about their work.
Charlene Vickers presents her “Diviners Protection Performance” in which she incorporates cedar spear and quill “Diviners” in a series of performative actions, spoken word, and song to make a space of protection and care of Indigenous women’s bodies and voices. The performance will take place in the map is not the territory exhibition galleries.
Artist Performance FERNANDA D’AGOSTINO MARCH 15, 6:30 P.M.
Fernanda D’Agostino, Sophia Wright Emigh, and Jaleesa Johnston will activate D’Agostino’s the map is not the territory installation with their collaborative performance work “In/ Body.” Developed over the past year through residencies at Open Signal and Performance Works Northwest, “In/Body” explores the intersection of embodied generational memory and our current crises of mass migration and climate change. Esteemed Portland performer/ choreographer Linda K. Johnson will join as a special guest.
CENTER FOR CONTEMPORARY NATIVE ART: NOT FRAGILE
In Dialogue Discussion Series
Gallery Talk
THE MAP IS NOT THE TERRITORY
APRIL 5, 6 P.M.
MARCH–MAY
Not Fragile features artists from across the Pacific Northwest who use glass in innovative ways to impart messages of strength, resilience, and insubordination. Join Not Fragile artistcurator RYAN! Feddersen (Okanogan/Arrow Lakes) for a gallery talk sharing insights on exhibition themes and artists.
In Dialogue is an occasional series of interdisciplinary, discussion-based seminars that explore art on view at the Museum in relation to works in the humanities, social sciences, and sciences. In spring 2019, we will take inspiration from the map is not the territory to consider timely and key exhibition themes including our relationship to nature and climate change; the decolonization of museums and institutions; and the ways we conceive of and navigate ideas of borders and border crossings. For a full list of dates and topics, visit the Museum website. Space is limited. Registration required. Cost per session: $10 members/$19.99 non-member.
NOT FRAGILE
UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.
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MEMORY UNEARTHED Film Screening & Discussion Film Screening HOUSE OF THE WORLD, POLAND/US, 1998 dir. Esther Podemski (54 mins., documentary, 16mm) FEBRUARY 2, 7 P.M.
Esther Podemski’s deeply felt, excavating documentary sees her traveling to Poland with a group of her parents’ contemporaries in an attempt to trace the history of an old family photograph. Visiting old hometowns such as Poddebice and Lodz, we meet many Jews directly affected by the Holocaust—including the custodian of an unforgettable, immense Jewish cemetery. Physical traces of the history of the Jews in Poland survive, like an empty field with a lone memorial tablet, but those family members, friends, and colleagues who perished live on in the memories of those who survived. House of the World is an emotional, poignant film made up of historical imagery, snapshots of Jewish life in Poland, archival music, and contemporary footage—all together, a vital record of a people. The filmmaker will be present for a post-film discussion.
SHOAH, FRANCE/UK, 1985 dir. Claude Lanzmann (565 mins., documentary, 35mm) FEBRUARY 3, NOON
Lanzmann’s groundbreaking durational documentary, an extensive look into remembrances of the Holocaust by survivors, witnesses, and perpetrators, is a deeply heartbreaking yet incisive examination of the Shoah. In production for 11 years as Lanzmann crisscrossed the globe in search of people willing to talk about their experiences, the film probes questions of historical memory and the banality of evil through remembrances of family members who perished, survival tactics, and—via Germans whom Lanzmann often surreptitiously recorded—the thought processes of those who perpetrated horrible crimes against humanity. Controversial upon release and consistently sparking dialogue since, Shoah is an unforgettable cinematic experience, and considered by many to be the greatest documentary ever made. In memoriam Claude Lanzmann (November 27, 1925 - July 5, 2018).
Alan Ostrow Memorial Lecture Series JEWISH GHETTO PHOTOGRAPHERS: REIMAGINING THE HOLOCAUST JUDITH COHEN, CHIEF ACQUISITIONS CURATOR, UNITED STATES HOLOCAUST MEMORIAL MUSEUM FEBRUARY 5, 6 P.M.
The vast majority of Holocaust photography, and the best known, was taken by German photographers. These photos include such iconic images as the Warsaw ghetto boy and the selections at Auschwitz. Therefore, we largely visualize the Holocaust through Nazi eyes. However, there also exists a considerable corpus of Jewish ghetto photography taken both by professional and amateur photographers. These photographs not only capture aspects of the ghetto hidden to the Germans, but also show layers of ambiguity and nuance that the official photos miss. How do these photographs differ from the better-known Nazi photographs? Does it matter who took the photo, or just what appears in the image?
The film is composed of two parts: First Era and Second Era. First Era (273 mins.) begins at noon with a midway intermission. Second Era (292 mins.) begins at 6 p.m. with a midway intermission. These films are presented in partnership with the Oregon Jewish Museum and Center for Holocaust Education, the Northwest Film Center, and the Institute for Judaic Studies. Tickets for Portland Art Museum members are $8 and available on the Northwest Film Center 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 at least two weeks in advance, or call 503-226-2811.
PORTLAND ART MUSEUM 31
APEX: STEVEN YOUNG LEE Artist Talk STEVEN YOUNG LEE FEBRUARY 24, 2 P.M.
Steven Young Lee’s artwork often considers his own experience navigating his KoreanAmerican cross-cultural identity through the process of working in ceramics and building installations. In this talk, he will discuss his work and the creative process that brought about his current APEX exhibition at the Museum. Presented in partnership with both the Asian Art Council and Northwest Art Council.
ADDITIONAL PROGRAMS Converge 45 Preview
Discussion
LISA DENT, ARTISTIC DIRECTOR FOR CONVERGE 45
GRANT WOOD, HIS FATHER’S TRIUMPHANT SON
April 7, 2 p.m.
SUE TAYLOR, PH.D., PROFESSOR EMERITA
Lisa Dent will share highlights of her curatorial program, “Facing Between Centers,” for Converge 45, the citywide art event that takes place in and around Portland in 2019-2021. Dent will discuss the national and regional artists she will include in the upcoming series of exhibitions, talks and performances over the next three years. Dent was recently Director of Resources & Award Programs at Creative Capital and has held curatorial staff positions at major museums and galleries in New York, New York and San Francisco, California.
The HeART of Portland: A Portland Public Schools K-12 Arts Showcase RECEPTION APRIL 16, 6:30 – 8:30 P.M., OPENING
EXHIBITION APRIL 16 – 28 OPEN DURING MUSEUM HOURS IN THE MILLER GALLERY, MARK BUILDING
Thank you, Portlanders, for supporting the Arts Tax! The Museum is proud to partner with Portland Public Schools to host the fourth annual HeART of Portland: A Portland Public Schools K-12 Arts Showcase. The showcase includes an exhibition of 80 works by PPS visual arts students and an opening reception with student performances. Hundreds of students will also participate in collaborative art projects inspired by the exhibition the map is not the territory and themes of belonging, place, identity, and decolonization. Please join us in celebrating arts education in Portland and the students and teachers who are at the center of this work. The showcase is free and open to the public. 32 PORTLAND ART MUSEUM
OF ART HISTORY, PORTLAND STATE UNIVERSITY KATHRYN ZERBE, M.D., AFFILIATE PROFESSOR OF PSYCHIATRY, OREGON HEALTH AND SCIENCE UNIVERSITY; FACULTY, OREGON PSYCHOANALYTIC CENTER MAY 12, 2 P.M.
The subject of a major retrospective exhibition at the Whitney Museum last year, Grant Wood (1891-1942) has recently emerged as a particularly complex figure in 20th-century American art. His endlessly parodied American Gothic (1930) is only the best known among a number of strange pictures by this talented and sometimes emotionally alienated Midwestern Regionalist. With the publication of her new monograph, Grant Wood’s Secrets (2019), art historian Sue Taylor joins psychiatrist and psychoanalist Kathryn Zerbe to discuss fascinating but little known aspects of Wood’s life and art. Presented in partnership with the Oregon Psychoanalytic Center, the European and American Art Council, and the Graphic Arts Council
ABOVE: Grant Wood, Family Doctor, 1941, lithograph on Rives BFK paper, Gift of Julia Bernard, 87.37; LEFT: Steven Young Lee, Fortune’s Fortune, 2005, porcelain, colored clay, photo by and courtesy of Steven Young Lee.
ONGOING PROGRAMS Artist Talk Series
Baby Morning
Join artists from a range of disciplines in the galleries on the third Thursday of every month for lively conversations about works of art on view at the Museum and how they relate to their own practices. The talks are followed by complimentary social hour in the museum cafe.
FIRST THURSDAYS OF THE MONTH,
Program begins at 6 p.m. $5 members, $19.99 non-members, $16.99 seniors. Space is limited. Tickets available online or on site.
DEMIAN DINÉYAZHÍ
RALPH PUGAY
FEBRUARY 21
APRIL 18
Demian DinéYazhí is an Indigenous Diné transdisciplinary artist born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) and Tódích’íí’nii (Bitter Water). DinéYazhí grew up in the colonized border town of Gallup, New Mexico, and the evolution of their work has been influenced by ancestral ties to traditional Diné culture and ceremony, matrilineal upbringing, the sacredness of land, and the importance of intergenerational knowledge.
CHISAO HATA MARCH 21
Chisao Hata is a performing artist, community organizer, and global citizen artist. Her work shares the Japanese-American story to communities from Hiroshima, Japan to Cuba, and New Mexico to Ontario, Oregon. As an arts educator, her perspectives are shared as an Oregon Humanities Conversation Leader and Vanport Mosaic Festival Stories in Movement artist. She originated Gambatte Be Strong, stories of Japanese-American displacement and resilience in Portland and is a partnering artist at the Dance Exchange in Takoma Park, Maryland.
Ralph Pugay holds an MFA in Contemporary Art Practice from Portland State University and is a residency graduate of the Skowhegan School of Painting and Sculpture in Maine. Pugay’s awards include a Betty Bowen Award from the Seattle Art Museum, Joan Mitchell Foundation Painters and Sculptors Award, Hallie Ford Artist Residency Fellowship, and an Oregon Arts Commission Fellowship. Major solo exhibitions were held at Seattle Art Museum, Upfor (Portland), Vox Populi (Philadelphia) and FAB Gallery (Richmond, Virginia). Pugay is currently the James DePreist Visiting Professor of Art at Portland State University.
SHARITA TOWNE
10 A.M. – NOON FEBRUARY 7, MARCH 7, APRIL 4, MAY 2
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 a.m. Baby Morning’s home base remains open until noon 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.
Midday Art Break SECOND WEDNESDAYS OF THE MONTH FEBRUARY 13, MARCH 13, APRIL 10, MAY 8 12:30 P.M.
Take a break from your workday and join a curator, museum educator, artist, or local scholar for a 45-minute talk in the galleries. Please visit the Museum website to learn more about upcoming topics. Space is limited. Advance tickets recommended. Program departs from the Main Entrance Lobby.
MAY 16
Sharita Towne is a transdisciplinary artist born and raised on the West Coast of the U.S. along I-5—from Salem to Tacoma and down to Sacramento. She is a research-based video artist and printmaker most interested in creating interdisciplinary community art projects that engage local and global Black geographies, histories and possibilities. Sharita is an Assistant Professor in Intermedia, Thesis and Critical Studies at Pacific Northwest College of Art.
UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.
ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org at least two weeks in advance, or call 503-226-2811.
PORTLAND ART MUSEUM 33
Art & Conversation THIRD TUESDAY OF THE MONTH FEBRUARY 19, MARCH 19, APRIL 16, MAY 21
Join us once a month for coffee followed by a lecture or film screening. Coffee at 9:15 a.m. in the Fields Ballroom, Mark Building; lecture at 10:15 a.m. in the Whitsell Auditorium, Main Building, except in February when the entire program will occur in the Fields Ballroom. This series is free for adults 62 and over. Please visit the Museum website to learn more about upcoming topics. Art & Conversation is made possible through the Marguerite and Harry Kendall Education Fund.
PUBLIC TOURS Join museum docents for gallery tours and other experiences at various times throughout the week. Public tours depart from the Park Avenue entrance on the following days and times (except FridaySunday when tours depart from the Sculpture Court): 1 P.M. TUESDAY & THURSDAY 6 P.M. FRIDAY (SLOW LOOKING) 12:30 & 3 P.M. SATURDAY 12:30 P.M. SUNDAY (FAMILY) 3 P.M. SUNDAY
SHARON L. MILLER AND FAMILY COMMUNITY FREE DAY
The HeART of Portland and Regional Youth Art Celebration APRIL 27, 10–5 P.M.
Join us for a range of youth programs in this annual daylong celebration organized in connection with The HeART of Portland: A Portland Public Schools K-12 Arts Showcase, on view April 15-28 at the Museum. For more information on the schedule of events for Miller Family Free Days, please visit the Museum website. Family programs are generously supported in part by Sharon L. Miller and Family, the Gordon D. Sondland and Katherine J. Durant Foundation, the Lamb Baldwin Foundation, and the Joseph E. Weston Public Foundation.
Picture This
Meditation Series
TOURS FOR VISITORS WHO ARE BLIND OR PARTIALLY SIGHTED
FIRST AND THIRD THURSDAYS OF EVERY
Tours meet on the third Thursday of every month (except December and August), but now take place from 1:30 to 3 p.m. This gives us time to slow down and explore the work through detailed verbal description, tactile experiences, and dialogue.
Meditate at the museum. You are welcome to attend all sessions or drop in as you like.
MONTH, 5:30–6:30 P.M.
To join our mailing list, or to RSVP for an upcoming tour, please call 503-276-4290 or email pdxmuseum@gmail.com.
UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.
ACCESSIBILITY 34 PORTLAND ART MUSEUM
The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org at least two weeks in advance, or call 503-226-2811.
GIFTS & GATHERINGS
PATRON SOCIETY MEMBERS The Portland Art Museum gratefully acknowledges the individuals and businesses of our Patron Society who make a significant impact on the Museum’s programs and essential operation. To find out more about the Patron Society, its unique member benefits, and how you can support the Museum at 503-276-4365. (List as of November 30, 2018) •Trustee and At-Large members CHAIRMAN’S CIRCLE $25,000+
Berggruen Institute Ryan and Mary Finley • Janet H. Geary • Pat and Trudy Ritz • Loren J. Schlachet • Arlene Schnitzer • The Smidt Foundation • Mr. and Mrs. William A. Whitsell • • Anonymous DIRECTOR’S CIRCLE $10,000–$24,999
Linda and Scott Andrews • Sharon and Keith Barnes Peter and Missy Bechen • Mrs. Mary Cecilia Becker Deborah Bergman Daniel Bergsvik and Donald Hastler • Bryan Bickmore Mary and Donald Blair • Cheryl and John Bradley Lisa Domenico Brooke • Richard Louis Brown • Mr. and Mrs. Roger Burpee • Cascadia Foundation Ms. Jean McGuire Coleman Truman Collins Anne and James F. Crumpacker • Paul and Pamela DeBoni Penelope and Foster Devereux • Matthew and Jasmin Felton • Brian Ferriso and Amy Pellegrin Lana and Christian Finley • Ann Flowerree • Mrs. Stephanie Fowler and Mr. Irving Levin • Katherine and Mark Frandsen • Mark and Christi Goodman / Downtown Development Group Alix and Tom Goodman • Mary Chomenko Hinckley and Gregory K. Hinckley
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Ronna and Eric Hoffman Fund of OCF Steven and Kasey Holwerda • Judy and Hank Hummelt • David J. Johnson Mr. and Mrs. Frederick D. Jubitz Willa M. Kemp • Dr. Douglas and Selby Key • Heather Killough Wes and Nancy Lematta Fund of OCF • Carol Schnitzer Lewis Fund of OCF Kathleen Lewis • Joanne Lilley Cyndy and Edward Maletis • David and Dolorosa Margulis / Margulis Jewelers • Jay and Tonia Mason • McGeady Family Foundation • Laura S. Meier • Sarah Miller Meigs and Andrew Meigs Rick and Erika Miller • Mark J. and Dr. Jennifer R. Miller • Dorothy Piacentini Travers and Vasek Polak • Dee Poth • Michael and Wayne Roberts Quimby Grace Serbu • Thomas and Megan Shipley • Angela and Rex Snow • Andrée H. Stevens • Julie and Peter Stott • Hank Swigert Travis Talbot • Greg and Cathy Tibbles Jane and Lawrence Viehl Nani S. Warren • Mr. and Mrs. Robert Warren, Jr. • Mr. and Mrs. David Willmott • Jim and Susan Winkler • Judith Wyss Anonymous
LEADERSHIP CIRCLE $5,000–$9,999
Anthony and Martha Belluschi Mary Lee Boklund • Marianne Buchwalter Bryce Butler Cynthia and Stanley Cohan Mary and Cheney Cowles Elizabeth and Kirk Day • Ann and Mark Edlen Deborah Yaeger and John Emshwiller Matt French • Suzanne Geary and Greg Doan • Mr. John Goodwin and Mr. Michael-Jay Robinson Leona and Patrick Green • Peter and Diana Hall Sue Horn-Caskey and Rick Caskey Judy Carlson Kelley Nick and Patty Knapp Drs. Dolores and Fernando Leon Elizabeth Lilley • Mr. and Mrs. Robert McCall Diane Forsgren McCall Marilyn McIver Jeanette and Bruce Morrison Yale Popowich, MD • Charles and Jennifer Putney David and Madie Richenstein Richard and Mary Rosenberg Charitable Foundation Richard and Deanne Rubinstein April Sanderson • Mr. and Mrs. Robert W. Schlieman Lois T. Schnitzer Jordan D. Schnitzer Richard and Marcy Schwartz Tina Skouras Sanjeev Lahoti and Angela Summers N. Kirk and Victoria Taylor Robert Trotman and William Hetzelson • Linda and Richard Ward Janet Williamson GUARANTOR $3,000–$4,999
Jean and Ray Auel Anne Barbey Mary Bishop Kathryn Bunn James and Diane Burke Carol Ann and Kent Caveny James and Nancy Dalton Theo and Nancy Downes-Le Guin Mr. and Mrs. Wayne R. Ericksen James FitzGerald and Karen Howe Katherine and James Gentry Mary and Gordon Hoffman The Holzman Foundation Mrs. Salena Johnson
Katherine and Gordon Keane Mr. and Mrs. Richard B. Keller Donna L. Larson Patrick Y. H. Lee Peter and Susie Lynn Bill and Melinda Maginnis Stephen R. McCarthy and Lucinda Parker Ruben J. and Elizabeth Menashe Ms. Hester H. Nau Cynthia and Steven Pailet Geoff Peters and Lenka Jelinek Brenda J. Peterson Charles and Ruth Poindexter Bob and Marilyn Ridgley Catherine Rudolf Joanne H. Senders Cathy and Daniel Stearns Ambassador Charles J. and Caroline H. Swindells Rena L. Tonkin Don and Linda Van Wart Christine and David Vernier Wendy Warren and Thomas Brown Jonathan and Pearl Yu Zephyr Charitable Foundation Anonymous BENEFACTOR $2,000–$2,999
Roudi Akhavein Stephen and Melissa Babson Joan Lamb Baldwin Rob and Terri Bearden Jane and Spencer Beebe Peter and Susan Belluschi Karen L. Benson Pamela H. Berg Mr. and Mrs. Lawrence S. Black Maureen and John Bradley Barbara and Robert Brady Buzz Braley Alexander Payne and Nicole Brodeur Deborah and Terrell Brown Andy and Nancy Bryant Bruce and Brenda Burns Eric and Robin Busch Barbara and Worth Caldwell Suzanne Carlbom Laura and Brent Carreau Barbara and Robb Cason John and Laura Cheney Tom and Molly Clarey Mike and Tracey Clark Brooks and Dorothy Cofield / Cofield Law Office Climate Architecture + Landscape, LLC, Amy and John Cooney Kimberly Cooper and Jon Jaqua Ré Craig Dick and Cameron Davis George and Barbara Dechet
Maria Declusion J. Michael Deeney, M.D. Barbara Delano and John Wyckoff Spencer and Mary Dick Hillary Dixon and Josh Aller Margueritte H. Drake Richard and Betty Duvall Carol Edelman Barry and Janet Edwards Ann and Ron Emmerson Stephen and Francene English Doris Ennis Linda Falvey Alan Ford and Jayce Sampson Candace and Bert Forbes Dr. William and Beverly Galen Andra Georges and Timothy Shepard Thomas and Elizabeth Gewecke Mrs. Barbara Giesy William Gilliland Karen and Harry Groth Mr. and Mrs. Jeff Grubb Luisa Adrianzen Guyer and Leigh Guyer Ms. Susan Halton Carl Halvorson Edward Hamilton and Linda Townsend Jamey Hampton and Ashley Roland Bob and Janis Harrison Gary and Janie Hibler Roger and Margaret Hinshaw Eric and Jan Hoffman Gretchen Holce Janet L. Holt David Holt and Karren Babbitt Joan and Fred Horstkotte James and Ellen Hubbell David Jentz Brad Johnston and Julie Evans Jessie Jonas Dr. Sivia Kaye Michael and Mary Klein Cheryl and Chick Kozloff Paul Labby Ross Laguzza Bonnie Laing-Malcolmson and Jack Woida Barbara and William Langley Helena and Milt Lankton Douglas Larson and Sarah Ryan Bonnie Laun Robert and Susan Leeb Ross M. Lienhart and Janeese Jackson Nancy Locke and Donald Harris Jerry and Carol Logan William and Connie Lovejoy Louise and Bruce Magun Tonya and Rick Mahler Elise and Jon Makler Shawn and Lisa Mangum
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POETIC IMAGINATION RECEPTION & SYMPOSIUM 1. Sheryl Acheson Bonhams and Alicia Fecker 2. Maribeth Graybill, Cheney and Mary Cowles, and Jan Quivey 3. Susan Schnitzer, Jean Schnitzer Marks, and Dori Schnitzer 4. Dan Bergsvik, Barbara Delano, and John Wyckoff 5. Bill Whitsell and Maribeth Graybill 6. Keiko and Bill Rahn, Edie Millar, and Dorothy Cofield
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NORTHWEST FILM CENTER FUNDRAISER AT THE HOME OF KATHLEEN LEWIS
Richard and Lisa Mann Ken and Linda Mantel Nino Marchetti and Melissa Kilgore M. James and Jennifer Mark Keith Martin Barbara Mason J.S. and Robin May Jim and Char McCreight Mike and Judy McCuddy Nancie S. McGraw Parker McNulty and Eileen McNulty Jo Ellen and Samuel Miller Brad and Nancy Miller Mia and Matt Miller Lucy Mitchem Mia and Jon Moore
Dee Corbin Moore and Thomas Jewett Moore Jeffrey Morgan Joyce and Dennis Muir Ernest and Anne Munch Judy Preble Murphy Terry and Carolyn Murphy Tom and Chris Neilsen Mr. Dane Nelson Gareth and Lisa Nevitt Kristie and Bob Niehaus John and Virginia Niemeyer Elizabeth C. Noyes Robert and Rita Philip Mr. and Mrs. Luke Pietrok David James Pollock David and Shirley Pollock
PATRON BUSINESS SOCIETY MEMBERS (List as of November 30, 2018) BUSINESS CHAIRMAN’S CIRCLE—$25,000+
BUSINESS DIRECTOR’S CIRCLE $10,000–$24,999
Shorenstein Realty Services LP
Hoffman Construction Company Margulis Jewelers MTek Kiosk, Inc. Nike, Inc. NW Natural Portland Trail Blazers Provenance Hotels REX HILL Wells Fargo
GIFTS OF ART
Gifts received from August 1–November 30, 2018
Clifford S. Ackley Clifford S. Ackley in memory of Jon Lincoln and Owen Chamberlain Asian Art Council Asia Week Participants, 2018 John and Shari Behnke Collection Dan Bergsvik and Don Hastler in honor of James Burke
Heidi Pozzo Patricia K. Prado Mr. and Mrs. Wallace Preble Lucy and Herb Pruzan Ron and Lee Ragen Suzanne L. Rague Jimmy Rattanasouk Bradley Rittenhouse and Leah Trefz Dr. Lisa Andrus-Rivera Jean and Stephen Roth Joan R. Lamb, The Lamb Family Foundation Dan Saltzman and Liz Burns Eugene and Mary Sayler Paul Schneider and Lauren Eulau Dori Schnitzer and Mark Brown Dina Schnitzer
Lani McGregor and Daniel Schwoerer Bonnie Serkin and Will Emery John and Linda Shelk Peter Shinbach Carol and Tom Shults Steven and Barbara Spence Bonnie Stern Pat and Larry Strausbaugh Eva J. Swain Swigert Foundation Charlie and Darci Swindells William R. Swindells Kimberly Tardie Christine Tarpey and Richard Yugler Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr.
Jeffrey Thomas and Laura Cooper Marta and Ken Thrasher Cheryl Tonkin Barbara and Bastian Wagner Wendy Wells Jackson Dr. and Mrs. Grover C. Wetsel Elaine Whiteley Jo Whitsell Alice and Wim Wiewel Sabine Artaud Wild Emily P. Wright Virginia Wright Cheryl and Tom Wyatt Kim Ziebell Anonymous (2)
Willamette Dental Group Winderlea Vineyard & Winery
Pearl Catering LLC Portland Business Alliance Vibrant Table Catering and Events Inc.
Cooperative PDX CONTEMPORARY ART Phillips PLANAR Precision Door Service Pro Photo Supply Rogers Machinery Company, Inc. Room & Board SakéOne ShedRain Corporation Showers Pass Sylvan Chiropractic Clinic and Wellness Center Ultimate Airstreams Vernier Software & Technology VTECH Communications, Inc. Wildwood & Company
BUSINESS LEADERSHIP CIRCLE $5,000–$9,999
The Canopy by Hilton Christie’s Davis Wright Tremaine Nordstrom Sigma Investment Management Company The Standard BUSINESS GUARANTOR $3,000–$4,999
Art of Catering Bonhams ChefStable Catering Devil’s Food Catering Elephants Delicatessen Food In Bloom Lane Powell PC New & Neville Real Estate Services
James D. Burke Marge Carter Bequest of Jeannine Cowles Mary and Cheney Cowles Engart, LLC The Carol and Seymour Haber Collection Craig Hickman Tom Kearcher
BUSINESS BENEFACTOR $2,000–$2,999
Ad-Mail, Inc. Allen Trust Company Chubb Insurance City of Beaverton Columbia Private Banking D. A. Davidson & Co. Elizabeth Leach Gallery Goldman, Sachs & Co. Hennebery Eddy Architechts, Inc. hivemodern.com Hood River Distillers Langley Investment Properties Mario’s Markowitz Herbold PC Meyer Pro, Inc. Oregon Beverage Recycling
Irwin Lavenberg Mel and Gail Mackler Robert and Sandra Mattielli Collection Ray McSavaney Archive Robert Miller Sandra Phillips in honor of Terry Toedtemeier Arthur Taussig
Dean Valentine The John Yeon Collection; Gift of Richard Louis Brown
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 503-276-4240. (List as of November 30, 2018) *Deceased Anthony C. R. Albrecht Betty Allen* Ron Anderegg 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*
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
EDUCATION AND ACCESS SPONSORS
Support exhibition programming, public and family programs, teacher and educator programs, school tours, and access programs supporting free and reduced admission prices. (Gifts of $5,000+ and endowments.) (List as of November 30, 2018)
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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* 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 Ruth Kainen* 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 The Mark Family in honor of Mary 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 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* 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)
Ken and Joan Austin Education Outreach Fund Bank of America Foundation William H. and Mary L. Bauman Foundation Fred W. Fields Fund of the OCF Institute of Museum and Library Services Marguerite and Harry Kendall Education Fund Selby and Doug Key KeyBank Foundation
Samuel H. Kress Foundation The Lamb Baldwin Foundation Wes and Nancy Lematta Fund of the OCF Mark Family Fund of the OCF Sharon L. Miller and Family Nordstrom Oregon Arts Commission Oregon Cultural Trust Pacific Power Foundation The PGE Foundation
The Renaissance Foundation Reser Family Foundation Mildred and Morris Schnitzer Charitable Fund of the OCF Gordon D. Sondland and Katherine J. Durant Foundation Lindsay and Corinne Stewart U.S. Bank Foundation Wells Fargo Foundation OCF Joseph E. Weston Public Foundation
ANNUAL MEETING AND MEMBERS OPEN HOUSE
DÍA DE MUERTOS CELEBRATION
EXHIBITION SERIES SPONSORS
Support 30 exhibitions a year at the Museum, enabling the allocation of resources to support a diversity of shows. (List as of November 30, 2018) PRESENTING SPONSORS
LEAD SPONSORS
The James F. and Marion L. Miller Foundation Meyer Memorial Trust
Education Exhibitions Fund Supporters* Wells Fargo Foundation*
SPONSORS
Maribeth Collins Exhibition Endowment Fund Maybelle Clark Macdonald Fund* Pat and Trudy Ritz The Harold & Arlene Schnitzer CARE Foundation Arlene Schnitzer/Jordan Schnitzer The Smidt Foundation James and Dana Tananbaum
The Sharon and Keith Barnes Endowment Fund Mary C. Becker Patricia Johnson and Michael Davidson/The Robert and Mercedes Eichholz Foundation Flowerree Foundation Alix and Tom Goodman Selby and Doug Key* NetX Digital Asset Management Nordstrom* U.S. Bank Foundation* Reser Family Foundation* Judith Wyss Oregon Cultural Trust Oregon Arts Commission Regional Arts and Culture Council
Allen Trust Company PLANAR NW Natural MTek Kiosk, Inc.
Judy and Hank Hummelt Anne and Peter Jarvis in honor of Anna and Max Podemski Mrs. Salena Johnson in memory of Thomas R. Johnson Willa M. Kemp Marguerite and Harry Kendall Education Fund Selby and Doug Key Craig Koon and Stephanie Mengden Koon Donna L. Larson Wendy and Howard Liebreich in memory of Miriam Greenstein Mrs. Lynn L. Marks Jerry L. Martin Diane Forsgren McCall Michael and Judy McCuddy Nancie S. McGraw / McGraw Family Foundation The Laura and Roger Meier Family Barry Menashe Family Metro Metals Northwest Dee and Thomas Moore Mia Hervin Moore and Jon Moore Nancy and Kevin Morrice Fred W. Fields Fund of Oregon Community Foundation Oregon Korea Foundation Donna Pierleoni and Christopher Morris The Podemski Family in memory of Max and Anna Podemski, survivors of the Lodz Ghetto Walter Clay Hill Family Foundation Janice E. Quivey in honor of Mary and Cheney Cowles Gopalan Raman
Sharlyn Rayment Regional Arts and Culture Council Steve Reinisch Richard and Janet Geary Foundation Madelle and Stan Rosenfeld Dori Schnitzer and Mark Brown Peter Shinbach John Shipley Willamette Dental Group Angela and Rex Snow Mr. and Mrs. Nicholas J. Stanley in memory of Maria Stanley Smith Mr. Gary Steffen Lindsay and Corinne Stewart Karl Studnicka and Emi Oshima The Gordon D. Sondland and Katherine J. Durant Foundation in memory of Maria Stanley Smith The Jackson Foundation The Standard The William H. Pitt Foundation, Inc. Travel Portland Robert Trotman and William Hetzelson Karen Varnhagen, Morgan Stanley W.L.S. Spencer Foundation Mr. and Mrs. Robert Warren, Jr. Winderlea Vineyard & Winery Mort Zalutsky David and Sherri Zava Zidell Family Foundation Anonymous (5)
NORTHWEST FILM CENTER
William G. Gilmore Foundation
GIFTS OF NOTE
The Portland Art Museum and Northwest Film Center are grateful to the many businesses and individuals whose support allows us to remain an important cultural resource in the community now and for future generations. The following list includes all non-membership gifts over $500, received between August 1, 2018, through November 30, 2018. *Deceased Mrs. Roudi Akhavein Allen Trust Company in memory of Maria Stanley Smith Ameriprise Financial and Columbia Threadneedle Jean and Ray Auel Bank of America Sharon and Keith Barnes Mrs. Mary Cecilia Becker Daniel Bergsvik and Donald Hastler Bonhams Stuart Brown Buccini Pollin Group, Inc Kitty Bunn The Canopy by Hilton John and Laura Cheney Cheney and Mary Cowles Anne and James F. Crumpacker Frederic and Nancy Delbrueck E. Rhodes & Leona B. Carpenter Foundation Thomas and Patricia Ebrey Richard Edelson and Jill Schnitzer Edelson
Estate of Leonie Everett Estate of W.H. Nunn Fidelity Brokerage Services LLC Ann Flowerree / Flowerree Foundation Mikiko Flynn Marybeth Fossati Stephanie Fowler and Irving Levin of The Renaissance Foundation FRAME Katherine and Mark Frandsen Carol Frankel Nancy Frisch Katherine and James Gentry Alix and Tom Goodman Ruth Greenstein Hagerty Insurance Henry Luce Foundation Linda Rae Hickey Mary Chomenko Hinckley and Gregory K. Hinckley The Holzman Foundation Sue Horn-Caskey and Rick Caskey
IN-KIND SPONSORS
MAJOR SPONSORS
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.
*In support of the Education Exhibition Series
Avid Mary and Donald Blair FUJIFILM North America Corporation Full Sail Brewing Co. Richard and Janet Geary Foundation Alix and Tom Goodman Stephie Grob Plante Steven and Kasey Holwerda Oregon Korea Foundation Koerner Camera Systems Ms. Nadia Kury Kathleen Lewis Gia Thanh Le Marmoset LLC Mark J. and Dr. Jennifer R. Miller Oregon Film King Family Foundation Regional Arts and Culture Council Arlene Schnitzer/The Harold & Arlene Schnitzer CARE Foundation The Jackson Foundation Anonymous
SHOP FOR ART The Portland Art Museum’s retail and rental programs help support the mission of engaging and inspiring the community through art.
Museum Store Browse the eclectic selections, and come see what is new and exciting for winter. Members receive 10-percent discount.
Museum Grounds The Museum’s coffee shop now offers great local foods from Elephants Delicatessen and pastries from various local vendors, and is now featuring a Friday night Art Pub with beer, wine, and snack specials from 5 to 8 p.m. Members receive 10-percent discount. @museumgrounds on Instagram.
Perfect for weddings, corporate, and nonprofit events. Artful Venues provides clients and guests with a state-of-the-art experience in unique, versatile settings. Make your next occasion truly special—contact our sales team at 503-276-4291 or events@pam.org for more information.
Rental Sales Gallery Did you know that Museum members can rent original works of art? Located just behind the museum at 10th and Jefferson, the RSG features 1,500 pieces created by 250 regional artists. Pop over for a visit and see what’s new on the wall. Learn more at rentalsalesgallery.com.
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 available. Visit events.portlandartmuseum.org. Find us on social media @artfulvenues.
44 PORTLAND ART MUSEUM
Museum Grounds features Stumptown espresso and Elephants sandwiches and salads, as well as vegan and gluten-free options from Snackrilege and Gluten Free Gem. Come experience some of the unique local products and knowledgeable service that Portland has to offer. Or join us Friday after 5 p.m. for our Art Pub, featuring beer and wine options from Lagunitas and Eola Hills.
HOURS Opening continued MICKALENE THOMAS DO I LOOK LIKE A LADY? (COMEDIANS AND SINGERS) February 23 – August 31, 2019 SUN, SHADOWS, STONE: THE PHOTOGRAPHY OF TERRY TOEDTEMEIER March 9 – August 4, 2019 ASSOCIATED AMERICAN ARTISTS: PRINTS FOR THE PEOPLE April 6 – August 18, 2019 HANK WILLIS THOMAS: ALL THINGS BEING EQUAL… October 12, 2019 – January 12, 2020
Continuing MEMORY UNEARTHED Through February 24, 2019 SU-MEI TSE: L’ECHO Through March 17, 2019
THE MAP IS NOT THE TERRITORY February 9 – May 5, 2019 APEX: STEVEN YOUNG LEE February 23 – August 11, 2019
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. Free First Thursday
MODERN AMERICAN REALISM Through April 28, 2019
Opening
CRUMPACKER FAMILY LIBRARY HOURS
$5 general admission 5–8 p.m.
THREE MASTERS OF ABSTRACTION Through March 24, 2019
EXHIBITION SCHEDULE
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.
Free admission 5–8 p.m. The first Thursday of every month.
Blue Star Museum
APEX: AVANTIKA BAWA Through February 10, 2019
Free admission to active-duty military and their families, Memorial Day through Labor Day.
NOT FRAGILE Through June 9, 2019
Miller Family Community Free Day
PICTURING OREGON Through August 2019
April 27, 10 a.m. – 5 p.m.
General Information
503-226-2811
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.
Membership Information
503-276-4249
Visit portlandartmuseum.org/admission-access-programs
CONTACTS
1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG
MARCH MON
2019
TUE
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FRI
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PUBLIC TOUR
PUBLIC TOURS
FAMILY TOUR
Modern American Realism 3 p.m.
PUBLIC TOUR
Pacific NW Art 12:30 p.m.
Women in Art 12:30 p.m.
Collection Highlights 3 p.m.
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Slow Looking 6 p.m.
SUN
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BABY MORNING
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PUBLIC TOURS
PUBLIC TOUR
Meditation 5:30 p.m.
Native American Art 3 p.m.
6 MIDDAY ART BREAK
Modern and Contemporary Art 1 p.m.
Sun, Shadows, Stone Japanese Prints
Slow Looking 6 p.m.
7 Native American Art 1 p.m.
8 PUBLIC TOURS
PERFORMANCE
Asian Art 3 p.m.
Slow Looking 6 p.m.
10 CLOSES
Su-mei Tse: L’Echo
Expressions of Green 12:30 p.m.
FAMILY TOUR
Expressions of Green 12:30 p.m. PUBLIC TOUR
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Modern American Realism 3 p.m.
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13 PHOTOGRAPHY BROWN BAG TALK
9:15 a.m.–11:30 a.m.
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PUBLIC TOUR
PUBLIC TOURS
Meditation 5:30 p.m.
PERFORMANCE
Collection Highlights 3 p.m.
Photography 1 p.m.
Noon
PUBLIC TOUR
Slow Looking 6 p.m.
Three Masters of Abstraction FAMILY TOUR
Drawing is Seeing 12:30 p.m. PUBLIC TOUR
Chisao Hata 6 p.m
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the map is not the territory 3 p.m.
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Northwest Art 1 p.m.
22 PUBLIC TOUR
Collection Highlights 1 p.m.
Slow Looking 6 p.m.
5:30 p.m.
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FAMILY TOUR
Modern and Contemporary Art 3 p.m.
PUBLIC TOUR
Mindfulness in the Museum 12:30 p.m.
NEW MEMBER TOUR
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Seeing Science in Art 12:30 p.m.
Charlene Vickers 6:30 p.m.
ARTIST TALK
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the map is not the territory 3 p.m
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PUBLIC TOUR
Fernanda D’Agostino 6:30 p.m.
25
Drawing is Seeing 12:30 p.m.
Seeing Science in Art 12:30 p.m.
PUBLIC TOUR
12:30 p.m.
3 FAMILY TOUR
European Art 1 p.m.
PUBLIC TOUR
2 OPENS
the map is not the territory 10 a.m.–noon
Asian Art 1 p.m.
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Play That Tune, Music in the Museum 12:30 p.m. Modern American Realism 3 p.m.
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FEBRUARY MON
TUE
2019
WED
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PUBLIC TOUR
PUBLIC TOURS
FAMILY TOUR
Modern American Realism 3 p.m.
PUBLIC TOUR
The History of the Avant Garde 12:30 p.m.
D
Slow Looking 6 p.m.
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BABY MORNING
Memory Unearthed 1 p.m.
PUBLIC TOUR
Children in Art 10 a.m.–noon
LECTURE
PUBLIC TOURS
Jewish Ghetto Photographers
5 PUBLIC TOUR
6 MIDDAY ART BREAK
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12 ART & CONVERSATION
13
Slow Looking 6 p.m.
14 PUBLIC TOURS
Memory Unearthed 1 p.m.
FAMILY TOUR
Memory Unearthed 3 p.m.
OPENING TALKS
Nature in Chinese and Native American Art: 12:30 p.m. the map is not the territory: 2 p.m.
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20
PUBLIC TOUR
Memory Unearthed 3 p.m.
PUBLIC TOUR
the map is not the territory 3 p.m.
16 CLOSES
Modern American Realism 12:30 p.m.
Memory Unearthed FAMILY TOUR
I Spy Art: 12:30 p.m. LECTURE
PUBLIC TOUR
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American Art 1 p.m. 5:30 p.m.
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Steven Young Lee: 2 p.m.
NEW MEMBER TOUR
26
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Drawing is Seeing 12:30 p.m.
Collection Highlights 3 p.m.
PUBLIC TOUR
the map is not the territory 1 p.m.
Modern American Realism: 3 p.m. FAMILY TOUR
ARTIST TALK
Demian DinéYazhí 6 p.m
PUBLIC TOUR
PUBLIC TOURS
PUBLIC TOURS
Slow Looking 6 p.m.
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APEX: Avantika Bawa
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Meditation 5:30 p.m.
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Seeing Science in Art 12:30 p.m.
PUBLIC TOUR
Modern and Contemporary Art 1 p.m.
Noon
PUBLIC TOUR
CLOSES
8 PUBLIC TOUR
Asian Art 1 p.m.
PHOTOGRAPHY BROWN BAG TALK
9:15 a.m.–11:30 a.m.
7 PUBLIC TOUR
12:30 p.m.
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European 1 p.m.
2
Shoah Noon
OPENS
Mindfulness in the Museum 12:30 p.m.
European Art 1 p.m.
4
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the map is not the territory
Slow Looking 6 p.m.
Meditation 5:30 p.m.
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Northwest Art 3 p.m.
House of the World 7 p.m.
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Portraits Through the Galleries 12:30 p.m.
FILM & DISCUSSION
PUBLIC TOUR
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Memory Unearthed: 3 p.m.
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MAY MON
2019 TUE
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RENTAL SALES GALLERY
FRI
BABY MORNING
New Artist Submission Opens
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PUBLIC TOUR
Earth, Sea, Sky 10 a.m.–noon Asian Art 1 p.m.
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FAMILY TOUR
Northwest Art 3 p.m.
PUBLIC TOUR
Psychology of Perception 12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOURS
Let’s Go on Vacation 12:30 p.m. the map is not the territory 3 p.m.
Meditation 5:30 p.m.
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MIDDAY ART BREAK
Modern and Contemporary Art 1 p.m.
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12:30 p.m.
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Collection Highlights 1 p.m.
Slow Looking 6 p.m.
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FAMILY TOUR
Native American Art 3 p.m.
LECTURE
Women in Art 12:30 p.m.
Let’s Go to the Beach 12:30 p.m. Grant Wood 2 p.m. PUBLIC TOUR
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8 PHOTOGRAPHY BROWN BAG TALK
Collection Highlights 1 p.m.
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Native American Art 1 p.m.
Noon
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FAMILY TOUR
Asian Art 3 p.m.
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Impressionism 12:30 p.m.
Slow Looking 6 p.m.
Meditation: 5:30 p.m. ARTIST TALK
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ART & CONVERSATION
16 PUBLIC TOURS
9:15 a.m.–11:30 a.m.
PUBLIC TOUR
Photography 1 p.m.
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17
Collection Highlights 3 p.m.
NEW MEMBER TOUR
Asian Art 1 p.m.
18 FAMILY TOUR
Native American Art 3 p.m.
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Pacific Northwest Art 12:30 p.m. Modern and Contemporary Art 3 p.m.
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Northwest Art 1 p.m.
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Photography 1 p.m.
Slow Looking 6 p.m.
RENTAL SALES GALLERY
New Artist Submission Closes
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Picturing Oregon 12:30 p.m.
Slow Looking 6 p.m.
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Northwest Art 12:30 p.m.
Sharita Towne 6 p.m.
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Photography 3 p.m.
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APRIL MON
2019
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PUBLIC TOUR
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FAMILY TOUR
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GALLERY TALK
European Art 3 p.m.
LECTURE
3 MIDDAY ART BREAK
Modern American Realism 1 p.m.
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Slow Looking 6 p.m.
Impressionism 12:30 p.m.
Not Fragile 6 p.m.
Seasons in Art 12:30 p.m. Converge 45 2 p.m.
Meditation 5:30 p.m.
PUBLIC TOUR
9 ART & CONVERSATION
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Meditation 5:30 p.m.
OPENING RECEPTION
ARTIST TALK
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FAMILY TOUR
Modern American Realism 3 p.m.
PUBLIC TOUR
12 Slow Looking 6 p.m.
Native American Art 3 p.m.
PUBLIC TOURS
Glass in the Galleries 12:30 p.m.
PUBLIC TOUR
Native American Art 1 p.m.
American Art 1 p.m.
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Let’s Go on Vacation 12:30 p.m. Northwest Art 3 p.m.
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PUBLIC TOURS
FAMILY TOUR
Modern American Realism 3 p.m.
PUBLIC TOUR
History of Landscape 12:30 p.m.
Finding the Stories in Art 12:30 p.m. the map is not the territory 3 p.m.
Ralph Pugay 6 p.m.
HeART of Portland 6:30 p.m.
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Slow Looking 6 p.m.
PUBLIC TOURS
Noon
5 PUBLIC TOUR
Asian Art 1 p.m.
PHOTOGRAPHY BROWN BAG TALK
9:15 a.m.–11:30 a.m.
PUBLIC TOUR
PUBLIC TOURS
12:30 p.m.
PUBLIC TOURS
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Modern American Realism 1 p.m.
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PUBLIC TOUR
NEW MEMBER TOUR
RENTAL SALES GALLERY
American Art 1 p.m.
20 MILLER FAMILY COMMUNITY FREE DAY
Slow Looking 6 p.m.
10 a.m.–5 p.m.
21 CLOSES
Modern American Realism FAMILY TOUR
Fantastic Beasts in Art 12:30 p.m.
Spring Show 5–8 p.m.
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Modern American Realism 3 p.m.
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American/ Northwest Art 1 p.m.
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Picturing Oregon 10 a.m.–noon
Modern and Contemporary Art 1 p.m.
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1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430
PARIS 1900 City of Entertainment JUNE 8 – SEPTEMBER 8, 2019
Gaston Roux. Nighttime festivities at the International Exposition of 1889 under the Eiffel Tower, 1889. Oil on canvas, 25 5/8 x 37 3/8 in., Musée Carnavalet, © Musée Carnavalet / Roger-Viollet. Exhibition curated by the Petit Palais, Fine Arts museum, with exceptional loans from Musée Carnavalet – History of Paris and Palais Galliera, Fashion museum, Paris Musées.