SPRING 2020
volcano! robert colescott schnitzer gift
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FROM THE DIRECTOR
19 NORTHWEST FILM CENTER
3 EXHIBITIONS & INSTALLATIONS
Portland International Film Festival
Varda: A Retrospective
Volcano! Mount St. Helens in Art
Art and Race Matters: The Career of Robert Colescott
Summer Film Camps for Kids and Teens
Underscan: Cult & Genre Reframed
APEX: Ed Bereal
CCNA: John Hitchcock
Though There Be Fury on the Waves: Victor Jorgensen at Sea, 1943–1945
Objects of Contact: Encounters between Japan and the West
Joryū Hanga Kyōkai, 1956–1965: Japan’s Women Printmakers
13 NEWS & NOTEWORTHY
Arlene Schnitzer Makes Historic Gift
Grand Ballroom Reopens
Year in Review 2019
Bill and Helen Jo Whitsell Life Trustees
23 MEMBERS & PATRONS
Patron Society Events
Just for Members
27 PROGRAMS & ACTIVITIES
Exhibition Programs
Additional Programs
Ongoing Programs
Public Programs
35 GIFTS & GATHERINGS 45 CALENDAR
PORTAL, VOL. 9, 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 engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations.
COVER/OPPOSITE: Emmet Gowin, American, born 1941, Debris Flow at the Northern Base of Mount St. Helens, Looking South, 1983, gelatin silver print, ©Emmet Gowin, Courtesy of Pace/MacGill, New York; Robert Colescott, Nubian Queen, 1966, acrylic on canvas, © 2019 Estate of Robert Colescott / Artists Rights Society (ARS), New York. Private collection; New York City, Photo credit: Adam Reich; Victor Jorgensen, Refueling at Sea Shortly Before Joining Task Force 50 for Operation Galvanic, 1943, gelatin silver print.
FROM THE DIRECTOR Forty years ago, Portlanders were witness to a massive display of earth’s deadly, destructive might. Mount St. Helens, a young volcano 50 miles northeast of the city, erupted on May 18, 1980, exploding its top and sending a plume of ash 15 miles into the air. Fifty-seven people died. Portland itself was blanketed by ash in one of the smaller eruptions that followed. Writer Ursula Le Guin described what she saw at Mount St. Helens in 1981: “All slant, sloping dust: nothing standing but snags, burnt dead trees that had been stripped by the heat blast. Nearer the crater, whole hillsides of dead trees lying in strange patterns, toothpicks, blown down by the blast. And the total destruction area where there was nothing but ash hills, ash plains.” Le Guin was not the only artist paying close attention. This spring, to commemorate the 40th anniversary of the eruption, the Museum presents Volcano! Mount St. Helens in Art, an exhibition that examines artists’ responses to the awesome beauty and power of the volcano. Artists have been inspired by the natural splendor of the Northwest for centuries, and I am thrilled to showcase depictions of the mountain by Albert Bierstadt and explorer Henry James Warre alongside such talented contemporary artists as Henk Pander, Lucinda Parker, and George Johanson. We are incredibly fortunate for the exhibition’s curator, Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art, who brought formidable scholarship and expertise to creating the first museum exhibition devoted to this volcano. Many of the artists featured in Volcano! were part of a dynamic emerging art ecosystem in Portland. Robert Colescott also established his career in Portland, and went on to create iconic work that challenged taboos around racial stereotyping. Art and Race Matters: The Career of Robert Colescott, opening February 15, is an excellent opportunity for visitors to experience the breadth of his work. It is also an opportunity for us to reflect on the relationship of the artist—and, in fact, the city—to Arlene Schnitzer. Arlene played an influential role in supporting the careers of Colescott and other contemporaries through her Fountain Gallery. Arlene and her late husband, Harold, transformed the landscape of the arts in Portland. Her recent historic gift to the Museum also represents a transformational moment for our institution, and I am forever grateful for her steadfast commitment to giving back to her community and her belief in the importance of art. When Ursula Le Guin returned to Mount St. Helens in 2005, a quarter-century after the eruption, she found a scene of renewal that was surprising even to the biologists who studied it. “All that silent dead landscape was changed—was green—had come alive,” she wrote. “Growth, vitality, wonderful variety—far more variety and exuberance than there had been…before the eruption.” Today, as we reflect back on change, growth, and regeneration—whether it be on the slopes of a volcano or in our own galleries—I am heartened by the possibilities the future holds for our Museum and for our community. Thank you, members, for your vital contributions.
Brian J. Ferriso Director and Chief Curator
Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art and Brian Ferriso, Director and Chief Curator. Ursula Le Guin excerpts drawn from her essay “Coming Back to the Lady,” adapted for Portland Monthly, June 2014.
EXHIBITIONS & INSTALLATIONS
VOLCANO! Mount St. Helens in Art
FEBRUARY 8 – MAY 17, 2020
Main Building, Floor 1 To commemorate the 40th anniversary of the great eruption of Mount St. Helens in 1980, the Portland Art Museum is proud to present an exhibition that examines artists’ responses to the awesome beauty and power of the volcano. From pre-contact Native American objects to contemporary paintings, drawings, and photographs, the show will trace the mountain’s changing image and significance for local peoples. Native Americans used the substance of the volcano—mainly basalt and obsidian—to create objects of great beauty and utility. While Mount St. Helens featured in their creation stories, no depictions of the volcano in the visual arts are known before the mid-1840s, when explorers
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Henry James Warre and Paul Kane traveled through the area. As luck would have it, their visits coincided with the volcano’s last eruptive period and they recorded the venting of steam and ash on the north side, presaging its destruction on May 18, 1980. Beginning about 1870, when the volcano was quiet once again, Portland’s leading landscape artists celebrated the picturesque beauty of the nearly symmetrical cone rising from the surrounding landscape. The exhibition includes fine examples created for Pacific Northwest homes by Eliza Barchus, Grace Russell Fountain, Clyde Leon Keller, William Samuel Parrott, Cleveland Rockwell, and James Everett Stuart, as well as paintings by artists such as Albert Bierstadt who were visiting the area
from the East Coast. Interestingly, paintings of Mount St. Helens were historically rare compared with the numerous images of Mount Hood—but that would change in 1980. Volcanic eruptions have long been depicted by artists because they are the most visually spectacular manifestations of nature’s awesome power. Earthquakes, fires, and hurricanes can affect much larger areas, but few are as breathtakingly beautiful. Pacific Northwest artists who witnessed the eruption in 1980 were compelled to express their experience of nature at its most violent. Henk Pander recorded the visual wonder in numerous watercolors and a large oil painting that normally hangs in City Hall. George Johanson adopted the erupting volcano in subsequent depictions of himself and
TOP: Cameron Martin, American, born 1970, Remission, 2006, acrylic on canvas, Saint Louis Art Museum, The Henry L. and Natalie Edison Freund Charitable Trust; TOP RIGHT: Mathias Van Hesemans (American, born 1946), Eruption, 1983, Mount Saint Helens, 1983, gelatin silver print, Gift of Stu Levy and Cris Maranze; RIGHT: Henk Pander, American, born The Netherlands, 1937, Eruption of Saint Helens from Cable Street, 1981 , oil on linen, City of Portland Public Art Collection, courtesy of the Regional Arts and Culture Council.
of the landscape. Emmet Gowin, Frank Gohlke, Marilyn Bridges, and other photographers concentrated on the savage beauty that resulted from the destruction. Gowin, Gohlke, and later Buzzy Sullivan returned year after year to show the landscape’s evolution. Along with Diane Cook and Len Jenshel, they have depicted the amazing rebounding of nature. In more recent years, artists have sought to depict the instability of the mountain and our knowledge that another eruption could happen at any time. Cameron Martin’s Remission, an 11-foot-wide painting expressing this instability in purely visual terms, will close the exhibition. As the region commemorates the 40th anniversary of the volcano’s eruption, the Museum is partnering with the Mount St. Helens Institute on a series of programs, tours, and in-gallery experiences throughout the run of the exhibition. For those who remember the eruption of 1980 and for those who know only its legacy, the exhibition will bring to life one of the most momentous days in the history of the Pacific Northwest, and artists’ responses to one short period in the epic cycles of volcanic destruction and regeneration at Mount St. Helens. made it virtually a symbol of the city in his many timeless depictions of Portland. Lucinda Parker also took up the subject and endowed it with her distinctive painterly energy; the exhibition will include a large painting that Parker recently completed. Barbara Noah and Ryan Molenkamp, both from Seattle, explored the event as reflection of our emotions and states of mind when confronted with an overwhelming event. As soon as the smoke cleared, ceramic and glass artists gathered the abundant ash—which was 67 percent silica—to use in their works. The exhibition will include Paul Marioni’s Mount St. Helens Vase, which he blew from pure ash the day after the eruption. Photography was the perfect medium for depicting the eruption’s radical transformation
Curated by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art. Sponsored in part by Ann Flowerree and the European and American Art Council of the Portland Art Museum and Exhibition Series Sponsors.
ART AND RACE MATTERS: The Career of Robert Colescott FEBRUARY 15– MAY 17, 2020 BY LOWERY STOKES SIMS, GUEST CO-CURATOR
Main Building, Floor 2 Art and Race Matters: The Career of Robert Colescott opened at the Contemporary Arts Center in Cincinnati (CAC) on September 20, 2019, and now comes to the Portland Art Museum. This exhibition is the first full retrospective of one of America’s most compelling and controversial artists. Having written and curated the work of Robert
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Colescott over the past 40 years, I was thrilled when Raphaela Platow, director of the CAC, approached me about developing this project. I enlisted Matthew Weseley, an independent scholar who has been working on a monographic study of Colescott’s work, as co-curator. Together with our colleagues at the CAC, we embarked on a five-year journey through familiar territory and into new dimensions. Robert Colescott (1925-2009) established his career in Portland with the support of gallery owner and philanthropist Arlene Schnitzer, then
made his mark on the art scene in the 1970s with paintings that deconstructed well-known masterpieces of art history (such as Pablo Picasso’s 1907 Les Demoiselles d’Avignon in the Museum of Modern Art, which Colescott painted in 1985) by black-facing some of the female figures. This provocative strategy challenged longstanding taboos about racial stereotyping while allowing Colescott to achieve his stated purpose to “interject blacks into art history.” As he transformed familiar images to forge new, unexplored social meanings and implications, Colescott became a
We know that, when the exhibition opens, it will be clear that Colescott’s work has never been more relevant than at this moment. Given the crisis of race relations, image management, and political manipulation in the current American— and global—landscape, Colescott’s perspectives on race, life, social mores, historical heritage, and cultural hybridity allow us a means—if we are up to the task—to forthrightly confront the state of culture and social relationships in the next decade. Co-curated by Lowery Stokes Sims and Matthew Weseley, and organized by Raphaela Platow, the Contemporary Arts Center’s Alice & Harris Weston Director and Chief Curator. Curatorial coordination in Portland by Grace KookAnderson, The Arlene and Harold Schnitzer Curator of Northwest Art. Presenting sponsor of the Portland exhibition: The Harold & Arlene Schnitzer CARE Foundation. Major support of the exhibition has also been provided by the Henry Luce Foundation, the National Endowment for the Arts, and Richard Rosenthal; the Andy Warhol Foundation for the Visual Arts for the research phase of the exhibition and the exhibition itself; and The Harold & Arlene Schnitzer CARE Foundation for its support of the catalogue. The exhibition was also awarded a Sotheby’s Prize in 2018 in recognition of curatorial excellence and its exploration of an overlooked and underrepresented area of art history. pioneer in the reemergence of figuration in the 1970s and in the strategies of appropriation in the 1980s. Despite its peerless pedigree, Colescott’s work continues to be mired in controversy because of both Colescott’s blunt, aggressive— even crude—gestural painting style and his provocatively transgressive examinations of race and gender. His work makes sense in the context of the raucous countercultural scene in the Bay Area of the 1960s and ’70s, as seen in the work of cartoonist R. Crumb and the funky West Coast figuration of Colescott’s cohorts such as Joan Brown, William Wiley, and Roy De Forest. But Colescott is particularly skillful
at shocking us by dealing with the issues that we usually shy away from, or only speak of in secret, and then delivering what has been described as a “one-two punch” that forces us to grapple with the artistic, political, social, and historical meanings of his images. Therefore, the curators convened multiple meetings across the United States—in San Francisco, Portland (Oregon), and Tucson (where Colescott lived and worked), and at the CAC—to discuss the nature of Colescott’s work. Scholars, curators, artists, critics, community representatives, and CAC staff all offered unique interpretations and interactive approaches to the exhibition.
TOP: Robert Colescott (American, 1925–2009), Nubian Queen, 1966, acrylic on canvas, © 2019 estate of Robert Colescott / Artists Rights Society (ARS), New York. Private collection; New York City, photo credit: Adam Reich; LEFT: Robert Colescott (American, 1925-2009), Knowledge of the Past is the Key to the Future: Upside Down Jesus and the Politics of Survival, 1987, acrylic on canvas, Museum purchase: Robert Hale Ellis Jr. Fund for the Blanche Eloise Day Ellis and Robert Hale Ellis Memorial Collection, © 1987 Robert Colescott; RIGHT: Robert Colescott (American, 1925-2009), Bad Habits, 1983, acrylic on canvas, gift of Douglas and Lila Goodman, © 1983 Robert Colescott.
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: ED BEREAL MARCH 7 – AUGUST 29, 2020
Main Building, Floor 4 Ed Bereal never shies away from political issues, like biting commentary about race relations and the follies of nationalistic greed. Born in Los Angeles in 1937 as a war baby and having studied at Chouinard Art Institute, Bereal has created work that carries a breadth of visual range, from assemblage sculptures to expertly drafted illustrations and to performative works with Bodacious Buggerrilla, a political guerrilla theater group he cofounded in 1969. For Portland Art Museum’s APEX exhibition, a small selection of objects and installations illustrate and ground us in more than 50 years of Bereal’s practice, hurling viewers into the shambolic spectacle that feels all too close to our current events. A lifelong educator, Bereal taught at University of California, Irvine’s School of Fine Arts from 1969 to 1993. During that time, Bereal was also teaching in the black studies department at the University of California, Riverside, in the late 1960s. In 1993, Bereal joined the College of Fine and Performing Arts at Western Washington University until his retirement in 2007. Bereal maintains his studio on his farm in Bellingham, Washington, and was most recently celebrated with a retrospective at the Whatcom Museum organized by curator Amy Chaloupka, titled Wanted: Ed Bereal for Disturbing the Peace. APEX is an ongoing series of exhibitions of Northwest-based artists, curated by Grace KookAnderson, The Arlene and Harold Schnitzer Curator of Northwest Art. The APEX exhibition series is supported in part by The Arlene and Harold Schnitzer Endowments for Northwest Art and the Exhibition Series Sponsors.
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LEFT: Ed Bereal (American, born 1937), Immortal Beloved, 1962/2015, mixed media, courtesy of the artist, photo: courtesy of Harmony Murphy Gallery, Los Angeles; TOP: John Hitchcock, Beef Tank, 2017, acrylic paint and screenprint on paper; RIGHT: John Hitchcock, Bury the Hatchet (detail), 2019, mixed media.
JOHN HITCHCOCK
BURY THE HATCHET: Prayer for My P’ah-Be MARCH 7 – SEPTEMBER 6, 2020
Center for Contemporary Native Art, Main Building, Floor 3 Bury the Hatchet is artist John Hitchcock’s mixed-media, cross-disciplinary, multisensory installation. Hitchcock combines his interests in printmaking, rock ’n’ roll, and Kiowa and Comanche history into one visual expression that offers a retelling of the narrative of the American frontier. Working from the theme of the Buffalo Bill’s Wild West show, Bury the Hatchet explores issues of assimilation, acculturation, and indoctrination through oral history and music. Bury the Hatchet develops a shared language to interrogate historic and modern institutions to prompt a redefinition and reimagining of our present reality. The visual and sound recordings in the exhibition work together to challenge western perspectives of the supremacy of the written word by reinforcing Indigenous views of oral history passed on from generation to generation through storytelling.
Sound recordings include the artist on pedal steel guitar with soundscapes of cello, clarinet, accordion, and guitars by the band The Stolen Sea. In addition, Jason Cutnose (Kiowa, 1967–2015) narrates a story about the Cutthroat Gap massacre in the Wichita Mountains of Oklahoma, artist Juanita Pahdopony (Comanche) records a Comanche prayer, Hitchcock’s grandfather Saukwaukee John Dussome Reid (Kiowa, 1912–1996) tells a story of the old days on the Southern Plains, and soprano Catlin Mead sings an operatic reinterpretation of Cutnose’s stories. Finally, Intertribal War Dance Songs, recorded in 1978 on the Johnny Reid (Kiowa) and Peggy Reid (Comanche) Dance Ground, make up the soundscape. Video images include war dancers in Medicine Park, Oklahoma, and buffalo images recorded in the Wichita Mountains Wildlife Refuge by Emily Arthur.
Organized by Missoula Art Museum and curated by John Calsbeek, Associate Curator, and Brandon Reintjes, Senior Curator. Organized in Portland by Kathleen Ash-Milby, Curator of Native American Art.
The exhibition has an accompanying limitededition 12-inch vinyl album, CD, and set of letterpress prints available at Sunday Night records: sundaynightrecords.com.
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THOUGH THERE BE FURY ON THE WAVES Victor Jorgensen at Sea, 1943–1945 MARCH 14 – SEPTEMBER 20, 2020
Modern and Contemporary Art, Floor 2M In 1942, Portland-born photographer Victor Jorgensen enlisted in the Navy. Edward Steichen, the renowned modernist photographer and lieutenant commander who oversaw Naval photography during World War II, selected Jorgensen—a Reed College attendee and editor at The Oregonian newspaper—to serve with his elite Naval Aviation Photographic Unit. Between 1943 and 1945, Jorgensen photographed on board the aircraft carriers USS Lexington and USS Monterey, the destroyer USS Albert W. Grant, and the hospital ship USS Solace, which served in the Pacific during the world-altering conflict. Much more than documents of life and death at sea, Jorgensen’s striking and varied photographs are testaments to the range of experiences sailors at war faced on a daily basis, including dangerous aircraft takeoffs and landings, enemy fire, the drudgery of vessel maintenance and daily chores, camaraderie, fear, homesickness, and exhaustion. Central to Jorgensen’s compositions is the human body: He was markedly attentive to the outwardly strong but ultimately fragile individuals under constant threat of grave physical injury and death. The works in this exhibition draw from a recent acquisition of vintage prints gifted to the Museum by Victoria Jorgensen Carman and Lee Jorgensen, the photographer’s daughters. The exhibition commemorates the 75th anniversary of the end of World War II and Jorgensen’s significant contribution to the field of documentary photography. Organized by the Portland Art Museum and curated by Julia Dolan, Ph.D., The Minor White Curator of Photography.
TOP: Victor Jorgensen, Refueling at Sea Shortly Before Joining Task Force 50 for Operation Galvanic, 1943, gelatin silver print; BOTTOM: Victor Jorgensen, Wounded Await Their Turn for Triage, 1945, gelatin silver print.
JORYŪ HANGA KYŌKAI, 1956–1965 Japan’s Women Printmakers MAY 9 – NOVEMBER 8, 2020
Main Building, Floor 1
OBJECTS OF CONTACT Encounters between Japan and the West FEBRUARY 29 – AUGUST 2020
Main Building, Floor 1 In theory, Japan was a “closed” country to foreign contact from the 1630s until the 1850s, by shogunal edict. In reality, trade prospered through authorized channels—allowing cultural exchanges to flourish with East and Southeast Asia, as well the West. Motivated by the demands of patrons, the availability of new artmaking materials and models of inspiration, and their own imaginations, artists created new and sometimes surprising works of art that reflected and engaged their world. These objects reveal a fascinating history of transnational encounter between Japan and the western world over more than three centuries. The stories told by the several dozen works in Objects of Contact range widely in media and in subject matter, from the arrival of Portuguese traders depicted in brilliant mineral pigments on gold screens to the patronage of a high-ranking Dutch East India Company officer divulged on the base of an apothecary jar. This spring and summer, explore how stunning works of Japanese art from the permanent collection embody, and even trouble, points of contact in the cultural dialogue between Japan and the West. Curated by Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator of Japanese Art and Interim Head of Asian Art. RIGHT: Yoshida Chizuko (Japanese, 1924-2017), Jam Masjid (detail), 1960, color woodblock print on paper, The Vivian and Gordon Gilkey Graphic Arts Collection; TOP: Kano School, Nanban byōbu (“Southern Barbarian” Screens) (detail), 1630/1650, ink, mineral pigments, and gold on paper, gift of Margery Hoffman Smith.
In October 1956, a vibrant group of contemporary etchings, relief prints, and lithographs went on display in a Tokyo gallery. This was the debut exhibition of Japan’s first printmaking society for women artists, the Joryū Hanga Kyōkai, or the Women’s Print Association. It provided a crucial vehicle for talented female printmakers working in a crowded field of male maestros. For the next decade, the nine professional women artists who founded the society would continue to stage exhibitions of their work—culminating in a triumphant show in New York City in 1965—before going on to pursue successful solo careers. Drawn from the Museum’s permanent collection and important private collections, this exhibition unearths a critical, dynamic, and understudied episode of modern printmaking history. This exhibition presents a timely look at the careers of the group’s founding members. Many of the works by these female printmakers are now extremely rare. Only a few of the artists, mostly in their 90s, are alive today. Yet their collective body of work is as diverse as it is visually captivating. In Joryū Hanga Kyōkai, 1956–1965, works by artists like Iwami Reika (b. 1927), Kobayashi Donge (b. 1926), Nonaka Yuri (b. 1938), Uchima Toshiko (1918–2000), and Yoshida Chizuko (1924–2017) demonstrate the expansive and fiercely creative vision of Japan’s first women printmakers association. Curated by Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator of Japanese Art and Interim Head of Asian Art. Major support provided by the Japan Foundation.
COMING SOON Summer 2020 FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM JUNE 13 – SEPTEMBER 27, 2020
Internationally beloved artists Frida Kahlo (1907–1954) and Diego Rivera (1886–1957) played a crucial role in defining and establishing the avant-garde cultural movement in Mexico in the early 20th century. Their famously stormy marriage reflected their diverging artistic styles: While Rivera’s art projected itself outward, often in vast murals, and concerned itself with the construction of a national identity in postwar Mexico, Kahlo’s turned inward and represented mexicanidad through an exploration of her personal identity. The exhibition will feature many of Kahlo’s most famous self-portraits and rarely seen oil paintings by Rivera, as well as works by other icons of Mexican modernism. Coordinated for Portland Art Museum by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. This exhibition is sponsored in part by The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer and Jordan Schnitzer, Bank of America, Mary Beth and Roger Burpee, The Standard, Mr. and Mrs. William Whitsell, Bonhams, Dan Wieden and Priscilla Bernard Wieden, and Ferguson Wellman Capital Management.
Fall 2020 ANSEL ADAMS IN OUR TIME OCTOBER 17, 2020 – JANUARY 24, 2021
Ansel Adams in Our Time celebrates the visual legacy of the acclaimed American photographer and includes some of his most iconic images, from a symphonic view of snowdusted peaks in The Tetons and Snake River, Grand Teton National Park, Wyoming (1942) to the sublime Moon and Half Dome, Yosemite National Park (1960). More than 100 photographs by Adams, displayed alongside images by photographers working both before and after him, will offer visitors a deeper perspective on themes central to Adams’s practice, demonstrate the power of his legacy, and spark conversation about the state of the American landscape of the 21st century. Exhibition organized by the Museum of Fine Arts, Boston. Host curated by Julia Dolan, Ph.D., The Minor White Curator of Photography.
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LEFT: Frida Kahlo, Diego on my Mind, 1943, oil on masonite, courtesy of the Jacques and Natasha Gelman Collection; TOP: Ansel Adams (American, 1902–1984) Moon and Half Dome, Yosemite National Park, 1960, photograph, gelatin silver print, Museum of Fine Arts, Boston. The Lane Collection, 2018.2681, © The Ansel Adams Publishing Rights Trust.
NEWS & NOTEWORTHY
Colescott (see page 6). The Schnitzers’ legacy and impact on the arts in Portland and throughout the Northwest are undeniable. “It has been very exciting to see the Museum change and grow, and to watch interest in the art of the Northwest region blossom,” Mrs. Schnitzer said. “It’s what Harold and I envisioned.” “This extraordinary gift is a profound investment in our role as Portland’s museum for art and film, but also in the future of the arts in our region,” said Brian Ferriso, Director and Chief Curator of the Museum. “We are so grateful to the Schnitzer family for their leadership in continually reinforcing that the arts are essential for vibrant, equitable communities. This gift, and the gifts it will inspire, will shape the future of the arts in this community in ways we cannot foresee today.”
HISTORIC GIFT: Arlene Schnitzer gives $10 million for the future of the arts in Portland The Portland Art Museum has received a landmark gift of $10 million from Arlene Schnitzer, representing the largest contribution from an individual donor in the 127-year history of the institution. This gift is also among the top gifts to the arts in the region, signaling to the community the importance of continued investment in art and culture of Portland and our region.
passion for art, and our city, led to leadership roles at the Museum. The Schnitzers have provided financial support of important acquisitions, exhibitions, and capital campaigns; donated their Chinese Han collection and other works to the Museum’s collection; and made significant investments in furthering the work of the curatorial team through endowments of Northwest and Asian art.
When asked about what drives her philanthropy, Mrs. Schnitzer said, “Enough is never enough giving back. And Harold felt it as strongly as I do. And that’s it.”
In recognition of their incredible commitment and contributions, in 2007 Harold and Arlene Schnitzer were named the first ever Life Trustees of the Museum. In 2014, the Museum showcased Arlene and Harold’s distinguished collection with the exhibition and publication In Passionate Pursuit: The Harold and Arlene Schnitzer Collection and Legacy. That exhibition displayed artwork by many of the Northwest artists whose careers Mrs. Schnitzer nurtured through her Fountain Gallery, including Robert
Arlene Schnitzer’s relationship with the Portland Art Museum began when she enrolled as a student at the Museum Art School. She and her late husband, Harold Schnitzer, along with their son, Jordan Schnitzer, have been close partners of the Museum for almost half a century. Their
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The Schnitzer Gift now represents the lead gift in the Museum’s ongoing Connection Campaign, which is currently in the quiet phase. An official announcement of the public campaign is anticipated in 2021. “I am so proud of my mother, Arlene, and my late father, Harold,” said Jordan Schnitzer. “My mother recently said the reason they have given to the art museum was ‘You either put up, or shut up!’ It doesn’t get any more succinct than that! “While their financial contributions have been important, I believe their leadership and lifelong effort to enlist many others to support the arts is their greatest legacy,” Mr. Schnitzer continued. “My late father often said, ‘You can’t have too many yellow school buses in front of the Museum!’”
LEFT: Arlene Schnitzer; RIGHT: Harold, Arlene, and Jordan Schnitzer.
KRIDEL GRAND BALLROOM TO REOPEN AFTER CEILING REPAIR The historic Kridel Grand Ballroom will reopen in February. The ballroom, located on the third floor of the Museum’s Mark Building, has been closed for repairs following damage to its decorative ceiling last fall. On September 3, 2019, a portion of the decorative ceiling fell inside the ballroom. No one was inside or injured, and no artworks were damaged. Engineers from KPPF and M.A. Mortensen, the Museum’s building contractor, examined the room and found no structural safety issues in the ballroom or the rest of the building. It was later determined that a portion of the ceiling fell because of the failure of 92-year-old screws attaching the wooden main beams to the metal straps in the ceiling; the screws have been replaced with sturdy bolts throughout the ceiling. Portland architectural firm Hennebery Eddy consulted on repairing the damaged portions
of the ceiling, reusing as much of the original wood as possible. Constructed in 1927 in a coffered pattern, the decorative ceiling was made from 12-foot lengths of vertical grain fir of a quality and beauty that is difficult to obtain now. “I am delighted to welcome the community again to our beautiful Grand Ballroom,” said Mohammed Ali, Director of Operations, who oversees Artful Venues rentals. “We are so grateful to our many longtime rental clients for their understanding in rescheduling and relocating events, and to our local partners for finding places for fundraisers and other celebrations during the busiest season. We look forward to hosting wonderful community events again this spring.”
cultural district, the space has hosted many of Portland’s great events, from weddings to celebrations of life, graduations, proms, and nonprofit fundraising events. It is home to the annual HeART of Portland event showcasing performances by Portland Public Schools students. The ballroom of the former Masonic Temple hosted a wide range of cultural events prior to its 2005 renovation, including a memorable Grateful Dead concert in 1967. “So many of us share fond memories of attending events with our friends and families in the Grand Ballroom,” said Brian Ferriso, Director and Chief Curator. “We are so pleased to return this treasured space to the community.”
The 9,000-square-foot, 1,000-capacity Grand Ballroom occupies a unique place in our community. Located at the center of the city’s
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YEAR IN REVIEW 2019 Evolution, collaboration, and a focus on the future were hallmarks of the past year for the Portland Art Museum. From important new staff appointments to a renewed focus on community partnerships, the Museum staff, board, and volunteers are working hard to make this institution the best it can be. This past year, the Museum and Northwest Film Center presented 31 exhibitions, nearly 600 films, and hundreds of public programs. In all, 325,000 people visited the Museum or saw a film, and 74,000 participated in a special event. Exhibitions spanned a range of artists, styles, topics, and time periods, and included The Shape of Speed, Poetic Imagination in Japanese Art: Selections from the Collection of Mary and Cheney Cowles; Modern American Realism: Highlights from the Smithsonian’s Sara Roby Foundation Collection; Memory Unearthed: The Lodz Ghetto Photographs of Henryk Ross, a partnership with the Oregon Jewish Museum and Center for Holocaust Education; the map is not the territory; and Paris 1900: City of Entertainment. As well as a stunning Georges de La Tour Masterworks | Portland painting.
Newly appointed staff include Amy Dotson as the Northwest Film Center Director and Curator of Film and New Media, Becky Emmert as the first-ever Head of Accessibility, and Kathleen Ash-Milby as Curator of Native American Art. These individuals are leaders in their respective fields and bring with them extraordinary expertise and enthusiasm. Central to the Museum’s work are education, public programs, and connecting with community. The Museum welcomed 22,000 students, 580 teachers for professional development, and 30,000 visitors to public programs this past year. In response to our expanded commitment to community engagement and involvement, in December 2018 the Education department became the Learning and Community Partnerships department. By including and empowering community members to help inform and shape key aspects of exhibitions and programs, the Museum ensures all visitors’ experiences will be enhanced. Visitors can look forward to having more opportunities to connect to each other and to the local community through shared experiences with art.
Partnership highlights from the past year include: • Collaborating with calligraphy artist Sora Shodo and Write Around Portland during Poetic Imagination in Japanese Art. • Programs with Portland Meet Portland, Native American Youth and Family Center, Chinook Indian Nation, and Portland Public Schools during the map is not the territory. • In-gallery events, film screenings, and opportunities with many individuals and organizations as part of WE. CONSTRUCT. MARVELS. BETWEEN. MONUMENTS. • Día de Muertos event in partnership with artists, community organizers, and leaders from Portland’s diverse Mexican communities. • Sixth annual Potluck in the Park Christmas dinner service. • Literary Arts Portland Book Festival and related Museum and Northwest Film Center programming. • Northwest Film Center partnership programs with Portland State University, Institute for Judaic Studies at Reed College, and Literary Arts, among others. The Museum’s commitment to students, educators, and schools continues to be a priority. For the fifth year in a row, the Kridel Grand Ballroom and Miller Gallery highlighted the creative work of some 400 student artists and performers during The HeART of Portland, a Portland Public Schools arts showcase. Through their filmmaking classes, the Northwest Film Center taught more than 900 students filmmaking and storytelling skills, including 300 Portland Public Schools middle schoolers as part of their Career Exposure Program. We are grateful to our 18,000 member households for making our work possible.
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TOP RIGHT: Rembrandt Harmensz van Rijn (Dutch, 1606-1669), Adam and Eve, 1638, etching on paper, plate: 6 1/8 in x 4 9/16 in; sheet: 6 7/16 in x 4 5/8 in, 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.
During the past year, the Museum acquired nearly 840 works of art. Highlights include a gift of 363 Bruce Davidson photographs spanning his entire career; 20 major Japanese works donated by Mary and Cheney Cowles, which span from the mid-eighth century to the mid-20th century; Rembrandt’s iconic Adam and Eve print; a compelling video work by renowned contemporary artist Mickalene Thomas; the Pete and Mary Mark bequest that added 14 European and American paintings and drawings to the collection; Wolfgang Tillmans’ Greifbar 50, a revolutionary abstract photograph that will be featured when the new Rothko Pavilion opens; and a pivotal transitional Morris Graves work.
commitment to preservation extends to the Museum’s Crumpacker Family Library and archives as well. In December 2018, the library accepted the archives of the nowclosed Marylhurst Art Gym. As one of the foremost sources of information about the history of Oregon visual arts in Portland, the library is well-positioned to steward these important materials, and to ensure their access for many generations. In this same vein, the library also accepted a selection of rare and special collection materials from the nowclosed Oregon College of Art and Craft. The Museum is grateful to be a resource to the community in this way.
Financial Highlights After an incredible 24-percent increase in visitors during the 2017-2018 fiscal year, thanks to the LAIKA exhibition, the past fiscal year saw admissions, membership, and earned income return to more normal levels. Thanks to careful management of expenses, the Museum ended the fiscal year within 1 percent of balancing the budget.
In addition to acquisitions, the Museum is dedicated to the preservation and conservation of works in the collection. This past spring, Roy Lichtenstein’s Brushstrokes received conservation treatment and a new coat of paint thanks in part to the Bank of America Art Conservation Project. This
Funding to support the Museum comes from a variety of revenue sources. Last year, approximately 24 percent came from admissions and memberships, 26 percent from contributions and grants, 20 percent from Museum Store sales and facility rental fees, and 12 percent from return on investment. The Connections 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.
FY19 REVENUES $23.6M
By the Numbers
31 exhibitions and 600 films • 18,033 member households • 325,000 Museum and •
NW Film Center visitors
74,000 special event attendees • 30,000 visitors to public programs • 22,000 student visits • 900 NW Film Center students • 580 teachers for •
professional development
•
376 docents and volunteers
FY19 EXPENSES $24.5M
PORTLAND ART MUSEUM 17
BW: We worked together in business for 40 years [running Copeland Lumber, then a family business established by Helen Jo’s grandfather]. That experience broadens you. Working together allowed us to share in each other’s interests. BF: What is your biggest hope for the Portland Art Museum? HJW: The Connection Campaign that we are working on now. BW: There has been so much progress since we first got involved here, and since your arrival, that progress has only accelerated. If we can keep that up, we’ll really have something special for the community.
BILL AND HELEN JO WHITSELL ANNOUNCED AS LIFE TRUSTEES The Museum is pleased to announce Bill and Helen Jo Whitsell as Life Trustees. Bill and Helen Jo have been involved with the Museum for nearly 30 years, with Helen Jo’s introduction coming from her mother’s connection to, and support of, the Gilkey Center for Graphic Arts. They have both served many terms on the executive committee of the Board of Trustees— Bill served as Board Chair from 2016-2018 and Helen Jo stewarded the collections committee for 11 years. They have also given generously to all areas of Museum operations, most notably the Whitsell Auditorium. Their curiosity, commitment to the community, and lifelong love of learning are reflected in their generous support of the Museum. Museum Director Brian Ferriso sat down with Bill and Helen Jo Whitsell to discuss what makes the Museum such a special place. Brian Ferriso [BF]: What first drew you to the Museum? Bill Whitsell [BW]: I would say the driving force was an interest in art. But what really drew us in was the opportunity to learn. We have learned so much about so many things through the Museum.
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BF: Does the world look different through your art museum experience? BW: The Museum opens yours eyes to all sorts of things and offers windows into history and how people live. BF: What do you think it is about art and museums that connect people? Helen Jo Whitsell [HJW]: New experiences open our minds, and a place like the museum offers deeper layers to uncover, even after you leave. BW: Having that new-experience opportunity for children is so important. They may not like everything, but something will stick, and it does open their minds. BF: You have helped the Museum acquire some very important pieces, of differing styles. What motivates you to do this? BW: It’s important to think beyond individual taste. The responsibility is to the institution and the community. BF: You have contributed to such a wide variety of programs, projects, and exhibitions. Where did this broad interest come from?
BF: Special exhibitions are a big part of what we do here at the Museum, and you have supported a great many of them. Are there any that stand out as favorites, or that have special meaning to you? BW: There is something to learn and enjoy from all of our exhibitions. The Museum’s ability to embrace an exhibition, whether it comes from our own collection and curators or from another institution, is really what makes them shine. It reflects the strength of so many people coming together from across departments, and with community partners. BF: What role does art play in your everyday life? BW: Collections develop a voice. They are like an extension of personality, and that is true for our own art collection. BF: What do you wish that everyone knew about the Portland Art Museum? HJW: It’s a place to come in and see new things and grow. The richness of experience changes with each visit. BW: That there is so much for anybody and everybody. I love what Clement Greenberg said about abstract art: It’s not about what you see, it’s how it makes you feel.
NORTHWEST FILM CENTER
CINEMA UNBOUND @ PIFF BY AMY DOTSON, DIRECTOR OF THE NORTHWEST FILM CENTER AND CURATOR OF FILM AND NEW MEDIA
In 1971, the Northwest Film Center was established here in Portland in response to a community needing to build connections through cinema, bringing together those who created it and those whoappreciate it to access the stories of their time. Only a few years later, the Portland International Film Festival was established to broaden our connectivity to the larger world. While the hunger for community and interconnectivity remains the constant, much has changed in the past four decades. Artists now self-define as many things. They have multiple interests, driven by creative and financial sustainability as well as expanded opportunities to have their voices heard. And now more than ever, audiences have the world at their fingertips through streaming, a myriad of theaters and screens in the palms of their hands. Access to great stories is everywhere. So how does PIFF stand out in 2020 and define itself in a crowded local and international landscape and a sea of festivals? And with so many places and spaces showing great work here and around the world, what sets us apart? Our vision for the future is that PIFF is not just a celebration of diverse cinematic work,
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but also as a portal of creation, ideas, and interconnectivity. The place to challenge yourself and your community to try something new and take cinematic risks, to meet artists and see work from as close as Idaho and as far away as Iran. The place to look at things anew, to experience and empathize with what’s happening right now in our world and our backyard. We’ve made some exciting changes to the 43rd edition of the Portland International Film Festival (PIFF), being held March 6-15, 2020, but what remains true is that we are fully committed to showcasing a mix of timeless cinema and what’s next. Bringing together provocative local and global storytellers who are expanding and challenging how and by whom stories are told, we look forward to broadening the definition of what “cinematic” can be. Ensuring that original, interconnected, and unexpected works from right here in Portland and the Northwest are made available to audiences side by side with world cinema is a step forward in embracing diversity, equity, inclusivity, and accessibility for both artists and audiences. All that to say, we are thrilled to embed Northwest Filmmakers’ Festival into the PIFF mix. It is through this more expansive lens that the festival focus this year—and going forward— will be Cinema Unbound. While cinema will continue to be our favored medium, there is a desire to explore provocative storytelling and expansive creativity on a multiplicity of
mediums—to look at film, television, immersive experiences, and even audio stories through a cinematic lens. On March 5, as a festival Day Zero treat, the Film Center will screen The Eyeslicer: Season Two, a “deep dive into the strange, dark heart of our contemporary American hellscape in the form of a DIY variety show”—in other words, a hilarious, singular response to the approachingfull-saturation media/political landscape of the present. A condensed Eyeslicer will screen in the Whitsell Auditorium in the evening during First Thursday hours, and the full 13-hour project will be running all day at the Film Center (934 SW Salmon St.) and Movie Madness (4320 SE Belmont St.). For this year’s PIFF opening night we present three selections, all works that speak to the current moment in cinema. Early in the evening, we present a double-feature screening of Garrett Bradley’s America and Ja’Tovia Gary’s The Giverny Document, two exceptional films which use histories of cinema and art to explore race and representation. And later, we’ll screen Michael Covino’s juggernaut festival hit The Climb—a tender, funny film about a lifelong friendship told through a series of vignettes, starring the multitalented Covino and Kyle Marvin. Kelly Reichardt’s latest Oregon-made feature, First Cow, from a screenplay by Portland-based writer Jon Raymond, is the PIFF closing night selection. The film—a 19th-century Western that interrogates the myth of American
CINEMA UNBOUND AWARDS MARCH 9, 2020
After almost 50 years in existence, the Northwest Film Center is in the process of a creative reimagining. It is now our job—and our pleasure—to push the limits of what can be deemed cinematic and what it means to be unbound from things the way they’ve always been done. Through our classes, exhibition, and close association with the Portland Art Museum, we are expanding our creative mandate to include both timeless cinema and what’s new in media arts, audio, and immersive storytelling. This year, as part of the 43rd Portland International Film Festival, the Cinema Unbound Awards will honor those who push the boundaries of what can be. Beginning in 2020, we will put together a yearly assembly of a mighty band of internationally renowned artists, creatives, filmmakers, and curators working somewhere in the middle of the Venn diagram of cinema and unboundedness. It is for those who strive to think bigger, try new things, and push forward to transform the field and the world. Some of the honorees have ties to Portland and some are just passing through. But all of them inspire and are leading us into new ways of seeing.
expansionism as a romantic endeavor—screens on March 13 with Reichardt, Raymond, and other collaborators in attendance. New at PIFF this year is the Cinema Unbound Competition, in which eight early-career feature films will compete for the Best Film prize. These uniformly exceptional films (in our humble opinion) will screen across opening weekend of the festival, and be under the watchful eyes and ears of our three-member competition jury, to
be composed of leading lights in the expanded field of cinema. The 43rd Portland International Film Festival takes place March 6 – 15, 2020. For more information, schedule, and ticket purchases, visit nwfilm.org/piff43.
So, while we see this as our highest honor, this isn’t really an awards-show kinda thing. It’s a celebration of new beginnings. An annual bellwether, a fundraiser and rally cry that things are changing locally and globally—and that change is good. We want to shine a spotlight not just for something someone has done in the past or a new project they’re currently promoting, but to honor and thank folks for being uniquely, impactfully themselves. Honorees will be announced in late January, spanning folks in documentary, animation, curation, audio storytelling, filmmaking, and performance. Stay tuned! Tickets are available at cinemaunbound.org/awards. PORTLAND ART MUSEUM 21
Enrollment Open in March SUMMER FILM CAMPS FOR KIDS AND TEENS JUNE – AUGUST 2020
VARDA: A RETROSPECTIVE JANUARY 31 – FEBRUARY 29
In early 2019, global cinema lost a major voice with the passing of the French/Belgian filmmaker, photographer, and artist Agnès Varda at age 90. Her exceptional body of work spans nearly seven decades and a mind-boggling array of styles, movements, and friends. Varda tackled many of the critical issues of her day, with a particular focus on women’s issues and how they relate to society at large. Starting her filmmaking career somewhat abruptly and almost whimsically in 1955 with her debut, La Pointe Courte, Varda lit the spark for the boys’-club of the French New Wave—a movement with which she was often confusingly associated, most often with “West Bank” filmmakers like Alain Resnais, Chris Marker, and the love of her life, Jacques Demy. Despite this loose association (usually made by others), over the course of the next 60-plus years Varda forged a uniquely spirited filmmaking path all her own, with masterpieces like Cléo From 5 to 7, Vagabond, The Gleaners and I, and Daguerréotypes living comfortably alongside idiosyncratic documentaries, freewheeling short films, photography, and installation work. In the late 1970s, she founded her own production studio, Ciné-Tamaris, whose cat-centric logo is familiar to fans worldwide. Varda’s key filmmaking philosophy, cinécriture (or, “film writing”), courses strongly through her work. Simply, the idea is that each part of filmmaking is a choice or decision, and that each choice must be undertaken deliberately and with intention. Through this mode of working, Varda tends to every idea and, via her art, allows us to see the world in a completely new—and usually more playful— light. She was always generous with her life’s experience and acquired knowledge about art-making and the world, but this tendency grew in her later years, which saw Varda giving charming talks about film and life all over the world, up until the very end.
Northwest Film Center Summer Camps spark creativity, encourage teamwork, and build skills for more than 250 youth each year. Throughout the summer, campers ages 8 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 from late June until mid-August at the Northwest Film Center, conveniently located at Southwest 10th Avenue and Salmon Street. Enrollment opens in early March, when a complete schedule is posted at nwfilm.org.
UNDERSCAN: CULT & GENRE REFRAMED A themed review of cult and genre films with an eye toward the margins, Underscan: Cult & Genre Reframed looks to question and reframe the traditional boundaries of the cult and genre film canon. Underscan focuses in on the intersection of marginalized voices and marginalized cinema (both from the past century and newer entries) and explores the possibilities for developing new canonical structures/narratives there.
The Northwest Film Center is pleased to present this near-complete retrospective of Varda’s incredible films throughout February 2020.
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TOP: Still from The Beaches of Agnès (2008), dir. Agnès Varda; LEFT: Agnès Varda, Self Portrait, ca. 1960s.
MEMBERS & PATRONS
PATRON SOCIETY EVENTS
Patrons are among the Museum’s most generous annual donors and experience a shared connection to the Museum enhanced by a host of offerings that bring art into daily life. To learn more about the Patron Society and any of the opportunities listed below, contact Brianna Hobbs at (503) 276-4312 or Brianna.hobbs@pam.org.
Opening Reception FEBRUARY 14, 2020
Join us for a special opening of two major exhibitions, Art and Race Matters: The Career of Robert Colescott and Volcano! Mount St. Helens in Art. Enjoy refreshments and hors d’oeuvres while hearing from Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art; guest curators Lowery Stokes Sims and Matthew Weseley; and Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.
Experience Cinema Unbound in Venice
save the date
Seattle Art Fair
SEPTEMBER 4–10
JULY 22–25
Join the Northwest Film Center for an art- and cinema-filled insider visit to Venice, Italy. The trip will include insider access to Venice’s vibrant contemporary art and cinema scenes.
Save the date to join us for the 2020 Seattle Art Fair. Together, we will explore the extensive programming offered at the Fair, tour private collections, visit artist studios, and experience the region’s premier institutions.
For more information, please contact Rachel Record at rachel@nwfilm.org or 503-276-4229.
TOP: George Johanson (American, born 1928), Under the Volcano, 1984, color etching on paper, Gift of the Artist; RIGHT: Frida Kahlo, Self-Portrait with Braid, 1941, oil on canvas, courtesy of the Jacques and Natasha Gelman Collection. 24 PORTLAND ART MUSEUM
MEMBER EVENTS Conversations with Curators Come learn about our exhibitions from the inside out! Curators will share insights with members at these quarterly members-only talks. Members will deepen their understanding of exhibitions and get to know our curatorial team in the process. Space is limited; advance reservations required. A separate email invitation will be sent for each conversation date; watch your email a few weeks prior to the date of the conversation to reserve tickets. FEBRUARY 15, 10 A.M. – NOON
Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art, on Volcano! Mount St. Helens in Art. More dates to be announced.
Get Ready For Members-Only Opportunities For Frida Kahlo, Diego Rivera, And Mexican Modernism Excitement is building for Frida Kahlo, Diego Rivera, and Mexican Modernism, coming in June of 2020! This is sure to be a popular exhibition, so make sure your membership is current and your email address is on file with us to stay up to date on special announcements about programs, members-only viewing hours, events, and other perks—just for members!
Member Appreciation Week 2020 APRIL 7–12
We love our members! Join us for a special week in celebration of our members, with something new each day of the week: tours, giveaways, extra guest days, additional discount days in the Museum Store, and more! Watch your email this spring for a schedule with more details.
New Member Tours FOURTH THURSDAY OF THE MONTH 5:30 P.M. FEBRUARY 27, MARCH 26, APRIL 23, MAY 28
New to the Museum and want to learn more? Join a Museum docent for a 45-minute tour experience with other members. These tours provide an introduction to the Museum and collections, along with fun stories and personal insights along the way. Open to all membership levels. Advance tickets not required.
VISITING THE MUSEUM AS A MEMBER General Museum admission is FREE for members (a savings of $20 per ticket) as well as for many lectures and special events. *Current membership card and photo identification will be required for entry on the day of your exhibition visit. Member tickets are limited to the named individuals on your membership cards. The Museum also offers many popular lectures and special events at free or reduced cost to members. Please note that because space is limited, advance ticket reservations for lectures and special events are highly recommended.
How to reserve tickets with free or reduced admission as a member: Online: Sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added tickets to your shopping cart and proceeded to the checkout. Remember to print your e-ticket and present it at the Museum for entry. Onsite: Visit the Museum’s box office in advance of the event or lecture with your membership card(s).
Do we have your email address? Don’t miss out! Register online to receive our electronic notifications and monthly e-news. Sometimes special member opportunities become available on short notice. When this happens, the only way for us to quickly communicate with you is via email. Visit portlandartmuseum.org and never miss another announcement. Questions about your membership status? Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs.
PORTLAND ART MUSEUM 25
THE ART OF CREATING A LEGACY: Ways to Build a Strong Estate Plan Passionate about supporting the Portland Art Museum’s mission, even after your lifetime? Taking the time to create an estate plan can help you decide how to distribute the hard-earned resources you have accumulated throughout your years. Follow this framework to build a plan that achieves your personal and charitable goals and recognizes the people and causes you cherish most. Determine which people and charities should receive your assets and whether the gifts should be made outright or in a trust. Contact us to learn about the variety of ways to remember the Museum in your estate plan. Select a trusted family member, friend, or responsible party—such as a bank or trust company—to administer your estate, which includes following the instructions in your will and distributing assets. Prepare an advance directive (also known as a health care power of attorney) to indicate who should make health care decisions on your behalf if you are unable to do so. You should also decide if you want a living will, which directs that no extraordinary life-sustaining medical procedures will be used to prolong life when there is no hope of recovery. Outline your funeral plans, including the names of people you want to be notified after your passing. Calculate your net worth and list all of your financial assets, including bank account numbers, insurance policies, and retirement plan assets. Compile a list of all of your personal data, including Social Security number, date of birth, and digital information, such as online accounts, user names, and passwords.
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Record the locations of important documents, such as your vehicle title, marriage certificate, and copies of prior years’ tax returns, as well as the name of your accountant and estate planning attorney. Ensure that your will is available outside of your safe-deposit box, which in some states can be closed when you die and not immediately accessible. Consult an estate planning attorney or tax advisor for assistance as you develop your plan.
Share Your Good News! If you’re considering naming the Portland Art Museum in your will as you make or update your estate plan, please let us know so we can ensure that your gift is used as you intended and we can welcome you into the Ella Hirsch Legacy Society. For more information, please contact Karie Burch at karie.burch@pam.org or 503-276-4240. The information in this publication is not intended as legal or tax advice. For such advice, please consult an attorney or tax advisor. Figures cited in examples are for hypothetical purposes only and are subject to change. References to estate and income taxes include federal taxes only. State income/ estate taxes or state law may impact your results.
Pierre Auguste Renoir (French, 1841–1919), Geraniums, 1910/1919, oil on canvas, bequest of Mary and Pete Mark, 2018.77.6
PROGRAMS & ACTIVITIES
PORTLAND ART MUSEUM 27
VOLCANO! MOUNT ST. HELENS IN ART JOHN E. BUCHANAN JR. MEMORIAL LECTURE
Blasts from the Past: Considering Mount St. Helens in Art FEBRUARY 9, 2 P.M. DAWSON CARR, PH.D., THE JANET AND RICHARD GEARY CURATOR OF EUROPEAN ART
This opening talk introduces the first comprehensive exhibition of art related to Mount St. Helens. Ranging from pre-contact Native American objects to contemporary works, the art celebrates the sublime beauty of the volcano in periods of serene calm and cataclysmic fury. Come learn how the exhibition chronicles the epic cycles of volcanic destruction and regeneration taking place in our backyard.
COMMUNITY PARTNERSHIP PROGRAMS
Mount St. Helens Institute We are excited to partner with the Mount St. Helens Institute on a series of programs, tours, and ingallery experiences during the exhibition. Founded in 1996, the Mount St. Helens Institute connects people of all ages to Mount St. Helens and the natural world through educational programming designed to enrich visitors’ appreciation and understanding of the Pacific Northwest’s youngest and most active volcano. For more information on the organization, visit mshinstitute.org.
Volcano Views & Brews JANUARY 21 (VANCOUVER)
Mount St. Helens Institute Saturdays
FEBRUARY 18 (VANCOUVER)
FEBRUARY 15
MARCH 26 (PORTLAND ART MUSEUM) APRIL 21 (VANCOUVER) MAY 7 (PORTLAND ART MUSEUM)
ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org, or call 503-226-2811 at least two weeks in advance. UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND
MARCH 21 APRIL 4 APRIL 18
DOORS AT 5:30 P.M.
MAY 16
PROGRAM AT 6:30 P.M.
NOON – 4 P.M.
Now in its 13th year, Volcano Views & Brews is a popular monthly Mount St. Helens Institute lecture series on Pacific Northwest natural and cultural history. The winter/spring series will focus exclusively on a range of topics related to Mount St. Helens’ past, present, and future. Fascinating subjects and lively speakers, as well as beer and food for purchase, will make for an enjoyable and horizon-widening evening. For a full list of topics, presenters, and location information, please visit the Museum’s website. The series will alternate between the Water Resources Education Center (4600 SE Columbia Way, Vancouver, Washington) and the Portland Art Museum.
On select Saturdays, join volunteers from the Mount St. Helens Institute as they bring their outdoor interpretation skills inside the museum for hands-on activities and informal gallery conversations that help bring to life the history, geology, and natural environment of Mount St. Helens without the drive to the mountain. In addition, MSHI volunteers and PAM docents will be available at 12:30 p.m. and 3 p.m. on these days to jointly introduce the Volcano! exhibition and offer insights to the art and science of the volcano.
AVAILABLE ONLINE OR ON-SITE.
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TOP: Albert Bierstadt (American, born Germany, 1830–1902), Mount St. Helens, Columbia River, Oregon, ca. 1889, oil on canvas, The L.D. “Brink” Brinkman Collection, LDB Corporation, Kerrville, Texas; Robert Colescott (American, 1925–2009), School Days, 1988, acrylic on canvas, © 2019 Estate of Robert Colescott /Artists Rights Society (ARS), New York. Denver Art Museum Collection: Funds from NBT Foundation, 1991.56, photograph courtesy of the Denver Art Museum.
ART AND RACE MATTERS: THE CAREER OF ROBERT COLESCOTT OPENING CONVERSATION
Robert Colescott: A Conversation with the Curators FEBRUARY 13, 6 P.M.
Join this conversation to kick off the opening of Art and Race Matters: The Career of Robert Colescott with exhibition co-curators Lowery Stokes Sims and Matthew Weseley, moderated by Grace Kook-Anderson, the Arlene and Harold Schnitzer Curator of Northwest Art. Sharing their deep knowledge of Colescott’s career as well as his time in Portland, Sims and Weseley will cover the subjects in Colescott’s work ranging from art history to racial stereotypes.
In Dialogue In Dialogue is an occasional series of interdisciplinary, discussion-based sessions that explore art on view at the Museum in relation to works in the humanities, social sciences, and sciences. This Spring, we will take inspiration from Art and Race Matters: The Career of Robert Colescott to consider timely and key exhibition themes that explore the dynamics between race and gender, as well as the function of satire within the work. For a full list of dates and topics, visit the Museum website. Space is limited. Registration required. Cost per session: $10 members/$20 non-member.
TRIPLE CANDIE Precarious Places: Alternative Art Spaces PDX MAY 30, NOON – 3 P.M.
Join us as we examine the potential and the precariousness of exhibition spaces and curatorial practices operating outside the mainstream art world. This summit explores what is “alternative” at a time of economic scarcity and shifting institutional models. Shelly Bancroft and Peter Nesbett of Triple Candie will join Portland curators and artists with presentations on artist-run spaces, communitybased projects, and curatorial activism. Presented in conjunction with the exhibition Being Present: Revisiting, Somewhat Unfaithfully, Portland’s Most Experimental Art Experiment, PCVA, on view through June 14, 2020.
CENTER FOR CONTEMPORARY NATIVE ART
BURY THE HATCHET Gallery Talk JOHN HITCHCOCK APRIL 24, 6 P.M.
Join printmaker, musician, and multimedia artist John Hitchcock (Comanche/Kiowa/ German/ Dutch) for a presentation and discussion about his multimedia project and installation, Bury the Hatchet. Hitchcock is a professor of printmaking and associate dean for the arts in the School of Education at the University of Wisconsin in Madison.
CONCERT
Bury the Hatchet
ADDITIONAL PROGRAMS
Art Conservation Clinic APRIL 2, 5:30 P.M.
Have a personal treasure such as a painting, comic book collection, or silver bowl that needs some TLC, but you don’t quite know what to do? Join us at our first ever public “Art Conservation Clinic” where regional conservators will come together to share their work and participate in a series of live consultations between objects and owners. All objects will be selected from an open-call online submission form. If you are interested in a live consultation, please visit the Museum’s online calendar for information on how to submit up to two objects for consideration. While the program can only accommodate a handful of objects, all submissions will receive a response and conservator contact information. Regardless of whether your object is selected, this public event will be an educational and fun way to meet conservators and hear more about how we can care for our cherished objects. Please note that no appraisals or monetary valuations of objects will be provided. There is no cost to submit your object, and the live event is free and open to the public.
APRIL 25, 7 P.M.
ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org, or call 503-226-2811 at least two weeks in advance.
Artist/musician John Hitchcock and his band, The Stolen Sea, will perform his Bury the Hatchet project. Combining storytelling, sound, and visual art, the performance explores the relationships between living Native cultures, contemporary society, and history. The Stolen Sea consists of musicians Nate Meng, Allison Lenz, Hannah Edlén, John Hitchcock, Ryan Lansing, and Caitlin Mead.
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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LEFT: Installation view of Being Present; Band photo credit: MOD Media Productions.
ONGOING PROGRAMS Artist Talk Series
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 a complimentary social hour in the museum cafe. Program begins at 6 p.m. $5 members, $20 non-members, $17 seniors.
OPENING RECEPTION
The HeART of Portland: A Portland Public Schools K-12 Arts Showcase APRIL 28, 6:30 – 8:30 P.M.
Exhibition open during Museum hours in the Miller Gallery, Mark Building APRIL 28 – MAY 7
Thank you, Portlanders, for supporting the Arts Tax! The Museum is proud to partner with Portland Public Schools to host the 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. In addition, hundreds of PPS students will participate in collaborative art projects exploring themes of natural disaster, resilience, and community in response to Volcano! Mount St. Helens in Art. Please join us in celebrating arts education in Portland and the students and teachers who are at the center of this work. No registration required. The showcase is free and open to the public.
SARAH BRAHIM
JENNIFER RABIN
FEBRUARY 20
APRIL 16
Sarah Brahim’s art practice centers collaborative work with artists across mediums. She has studied, choreographed, performed, and taught jazz, contemporary, ballet, and tap dance. Brahim attended the San Francisco Conservatory of Dance, and in 2016, she graduated from the London Contemporary Dance School (LCDS) with a BA Honours degree in contemporary dance. Brahim performs, choreographs, and directs movement professionally across the United States, Europe, and the Middle East. Her performances and film works touch on themes of culture, loss, identity, veiling, borders, race, migration, transnational experience, women of color experience, body in landscape, and the imprint places leave within us.
MICHAEL LAZARUS MARCH 19
Michael Lazarus received his BFA from the Rhode Island School of Design and his MFA from the School of Visual Arts in New York City. He has shown nationally and internationally including exhibitions at MOMA PS1, New York; Yerba Buena Center for the Arts, San Francisco; Las Vegas Museum of Art; and Oregon State University. He was chosen for the Portland Biennial in 2016 and his work is included in the collection of the Portland Art Museum. His work lies somewhere between abstraction, portraiture, landscape, and sign.
Jennifer Rabin is a writer, visual artist, arts writer, and arts activist. Her work has appeared in The Kenyon Review, The Sun, The Rumpus, Harvard Review, Hyperallergic, and Willamette Week, where she served as the visual arts writer. She approaches art making as a devotional practice and is interested in the ways it offers us portals into other people’s experiences. She recently completed a memoir, All the Reverence in Our Hearts, about the power of art to shepherd us through difficult times.
ARIELLA TAI MAY 21
A video artist, film scholar, and independent programmer from Queens, New York, ariella tai currently reappropriates, glitches, and video processes existing media. They are one half of “the first and the last,” a fellowship, workshop, and screening series supporting and celebrating the work of black women and femmes in film, video, and new media art. They have shown work at PICA, the Black Femme Supremacy Film Fest, the Northwest Film Center, Boathouse Microcinema, Wa Na Wari, Anthology Film Archives, MOCA, and Smack Mellon.
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ONGOING PROGRAMS continued Art & Conversation THIRD TUESDAYS OF THE MONTH FEBRUARY 18, MARCH 17, APRIL 21, MAY 19
Join us once a month for coffee followed by a lecture or film screening. Coffee at 9:15 a.m. and lecture at 10:15 a.m. This is a free program and everyone is welcome. Please visit the Museum website to learn more about upcoming topics. Art & Conversation is made possible through the Marguerite and Harry Kendall Education Fund.
Sharon L. Miller and Family Community Free Day MAY 3, 10 A.M. – 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 28–May 7 at the Museum. For more information on the schedule of events, please visit the Museum website.
Baby Morning
Midday Art Break
FIRST THURSDAYS OF THE MONTH
SECOND WEDNESDAYS OF THE MONTH
10 A.M. – 12:30 P.M.
12:30 P.M.
FEBRUARY 6, MARCH 5 , APRIL 2, MAY 7
FEBRUARY 12 , MARCH 11, APRIL 8, MAY 13
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 12:30 p.m. with toys, games, and books, providing a welcoming, accommodating space free of worries. Caregivers are also welcome to leave belongings here while on the tour. Carriers are recommended while in the galleries, but not required.
Take a break from your workday and join a curator, museum educator, artist, or local scholar for a 45-minute talk in the galleries. Please visit the Museum website to learn more about upcoming topics.
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Space is limited. Advance tickets recommended. Program departs from the Main Entrance Lobby.
For a list of speakers and topics, please visit the Museum’s 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.
ART COUNCIL PROGRAMS Photography Brown Bag Series
A Conversation with Kay WalkingStick
3RD WEDNESDAYS OF THE MONTH
Critically acclaimed artist Kay WalkingStick, a Cherokee painter known for her early abstraction and iconic landscapes, will be joined by Native American Art Curator Kathleen Ash-Milby in a conversation about the artist’s career of more than five decades. The program is free and open to the public, but reservations are recommended.
NOON FEBRUARY 19, MARCH 18, APRIL, 15, MAY 20
The Photography Council’s monthly Brown Bag Lunch Talks series brings photography luminaries to the Museum to discuss their work and current issues in producing and collecting. For information on each month’s presenters, visit the Museum website.
MAY 9, 11 A.M.
This event is sponsored by the Native American Art Council of the Portland Art Museum and presented in collaboration with Froelick Gallery, Portland Community College, and Native Arts and Cultures Foundation.
Sponsored by Pro Photo Supply.
ACCESSIBILITY The Portland Art Museum is pleased to offer
UNLESS OTHERWISE NOTED, ALL
accommodations to ensure that our programs are
PROGRAMS ARE FREE FOR MEMBERS.
accessible and inclusive. Please email a request to
SPACE MAY BE LIMITED. ADVANCE
access@pam.org, or call 503-226-2811 at least two
TICKETS ARE RECOMMENDED AND
weeks in advance.
AVAILABLE ONLINE OR ON-SITE.
Kay WalkingStick, Buffalo Country, 2018. Oil on panel, 30 x 60 in. Courtesy of Froelick Gallery.
PORTLAND ART MUSEUM 33
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. THURSDAY 6 P.M. FRIDAY (SLOW LOOKING) 12:30 & 3 P.M. SATURDAY 12:30 P.M. SUNDAY (FAMILY) 3 P.M. SUNDAY
Picture This
Meditation Series
TOURS FOR VISITORS WHO ARE BLIND OR EXPERIENCE LOW VISION
FIRST AND THIRD THURSDAYS OF THE
SECOND SATURDAYS & FOURTH THURSDAYS OF THE MONTH, 1–3:30 P.M. FEBRUARY 8 & 27, MARCH 14 & 26, APRIL 11 & 23, MAY 9 & 28
Picture This tours resume in February after a temporary hiatus to allow for community input and program updates. Please see pam.to/blindlowvision for more information and to reserve a ticket.
MONTH, 5:30–6:30 P.M. FEBRUARY 6 & 20, MARCH 5 & 19, APRIL 2 & 16, MAY 7 & 21
Meditate at the museum. You are welcome to attend all sessions or drop in as you like.
For questions or more information please email accesstours@pam.org or call Becky Emmert, Head of Accessibility, at 503-276-4334.
EDUCATION AND ACCESS SPONSORS Ken and Joan Austin Education Outreach Fund, Bank of America Foundation, William H. and Mary L. Bauman Foundation, Fred W. Fields Fund of the Oregon Community Foundation, 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, Mark Family Fund of the OCF, Sharon L. Miller and Family, Nordstrom, Oregon Arts Commission, Oregon Cultural Trust, Pacific Power Foundation, The PGE Foundation, Reser Family Foundation, Mildred and Morris Schnitzer Charitable Fund of the OCF, Barbara and Phil Silver, Gordon D. Sondland and Katherine J. Durant Foundation, Lindsey and Corinne Stewart, U.S. Bank Foundation, Wells Fargo Foundation, and OCF Joseph E. Weston Public Foundation. 34 PORTLAND ART MUSEUM
GIFTS & GATHERINGS
THANK YOU The Portland Art Museum and Northwest Film Center gratefully acknowledges the members and supporters who make our mission possible. All gifts above $250 received between August 1 and November 30, 2019. *deceased $25,000 & ABOVE
Asian Art Council of the Portland Art Museum Amjad and Helen Bangash Bank of America Mr. and Mrs. Roger Burpee Japan Foundation, Los Angeles Spencer Noecker and Cambria Benson Noecker Oregon Community Foundation Estate of Luwayne “Buzzy” Sammons Loren J. Schlachet Arlene Schnitzer/The Harold & Arlene Schnitzer CARE Foundation Shorenstein Properties LLC Barbara and Phil Silver
$10,000 – $24,999
Ameriprise Financial and Columbia Threadneedle Investments Mrs. Mary Cecilia Becker Ben Brown Fine Arts Mary and Donald Blair Cheryl and John Bradley Clark Foundation Truman Collins Contemporary Art Council of the Portland Art Museum Ré Craig Michael C. Davidson / The Robert and Mercedes Eichholz Foundation Christelle and Jon deAsis Dorothy Lemelson Foundation Estate of W.H. Nunn Fidelity Charitable Gift Fund Mark and Christi Goodman / Downtown Development Group John and Karen Hoke Steven and Kasey Holwerda Jack Shainman Gallery Willa M. Kemp Joanne Lilley Jay and Tonia Mason McGeady Family Foundation Travers and Vasek Polak Provenance Hotels Ray Hickey Foundation The Jackson Foundation The Petrucci Family Foundation Dan Wieden and Priscilla Bernard Wieden
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$5,000 – $9,999
Guy Barron and Nora Barron Ann and Mark Edlen Mark and Katherine Frandsen Matthew French Suzanne Geary Mr. Henry Lea Hillman, Jr. and Mrs. Amber Hinsvark Hillman Terri and Robert Hopkins Salena Johnson Keith Martin’s Sports Car Market Nick and Patty Knapp Carol Schnitzer Lewis Fund of OCF Michael and Judith McCuddy Parker and Eileen McNulty PDX CONTEMPORARY ART Photography Council of the Portland Art Museum Dee Poth Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Nathan Sasaki Lindsay and Corinne Stewart Grace Serbu Linda and Richard Ward David and Catherine Willmott
$2,000 – $4,999
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$250 – $1,999
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HANK WILLIS THOMAS: ALL THINGS BEING EQUAL... OPENING CELEBRATION
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1. Sara Krajewski and Julia Dolan 2. Rujeko Hockley, Hank Willis Thomas, and their daughter 3. Keoamkha Sengnouanchanh, Cory Hansen, Althea Sanford, Angela Snow, and Howard Lichter 4. Guests enjoying dinner 5. Kathleen Lewis, Susan Reavis, and Mary Lee Boklund 6. Christelle deAsis and Justina Smith 7. After Party with DJ set by The Jillionaire 4 5
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HANK WILLIS THOMAS: ALL THINGS BEING EQUAL... COMMUNITY PARTNER EVENTS Portland in Color | The Numberz | Don’t Shoot PDX
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William Gould Jim and Lee Gray Linda S. Green Pamela Greene and Hans Kretschmer Marie and William Gregory Jodi Grimmet-Ozen Roger D. Groves Natalie Gutzler and Elizabeth Martin Abby Guyer and Eric Peet David Gwilliam Thomas and Margaret Hacker Denise Hadley Christopher Hall Paul Hamilton Veronica and Clyde Hamstreet Lisa Hannah and Matt Hider Kay’la Hanson Carolyn and John Harbison Colin Hart Sara and Fred Harwin HDR Engineering, Inc. David Helmold and Mary Roberts Timothy and Carol Henry Mary Henry De Tessan Jennifer Herber and Curtis Hartshorn Maureen Hickey and Christopher Putnam Krista Hildebrand and John Marshall Gerald Hill and Anya King Mary Hirsch and Yoshiaki Shimizu Brian and Caryl Hoffman Sandra and Steven Hohf David and Maryanne Holman Emily Holmes Penny and Raymond Holmgren Pam Horan Dr. Larry Hornick Patricia Hougland Melissa Howes James and Ellen Hubbell William J. Huebner Cassandra Hughes and Jacob Burghoffer Elizabeth A. Hulick Judy and Hank Hummelt David Hutchison and Cindy Hutchison Giovanna and Richard Jackson Judy Jacobson David Jacobson and Karen Hsu Elayne Janiak and Karl Voiles Jarvis Family Fund John and Janet Jay Donald J. Jenkins Liv Elsa Jenssen Jenda Johnson and David Sherrod Heather and Bruce Johnson Ron Johnson and Linda Johnson Annette and Jeff Johnson Patricia B. Jones
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PORTLAND ART MUSEUM 39
Elizabeth and Klaus Putjenter Mark Pyrch and Will Peterson Joni Quarnstrom and Michael Harvey John Raglione and Kim Raglione Rebecca Rall and Christopher Rall Gopalan Raman Anna Raman James Rankin Kathleen and Thomas Rastetter Mark and Melissa Rawlinson Raymond James Charitable Endowment Fund Dana and Scott Reames Regional Arts and Culture Council Stanton Rentschler and Carol Annino Rentschler Martha and David Richards Scott and Barbara Richmond Amy R. Richter Jill Rissi and John Rissi Janet Roberts and Ed Clark Rita J. Robillard Jane Robinson and Michael Sands Margaret Snow and Richard Benoit Ruth and Jane Robinson Bradley Rogers Pieter and Greta Rol Charles and Miriam Rosenthal David and Jean Ross Laura Ross-Paul and Alex Paul Sharon and Jerzy Rub Eileen Ruberto Linda J. Ruswinkle Patricia E. Sacks Diane and Daniel Sagalowicz Dov and Amelia Sagiv Elizabeth Sazie Len and Janine Schulwitz Marcy and Richard Schwartz Wayne Schweinfest Norman Scott and Patricia McDonald-Scott Elmer and Linda Seeley Joel and Sandra Seres Peter Shaw and Jessie Ly Robert Shaw and Mary Skarie Carl Shawber and Beth Shawber Jenny and Mitchell Sherman James Carlisle and Kayleen Shiiba John Shipley Bennett and Elyse Shoop Craig and Susan Siegel Jonathan and Heather Sielaff Michael and M. Kelly Sievers
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NORTHWEST FILM CENTER
Teresa and Douglas Arthur The Benevity Community Impact Fund Mary and Donald Blair Robert Blum and Carol Black Lisa Brenner and Tom Stibolt Marina and Bill Brown City of Portland Virginia Darney and Craig Johnson Rita Fawcett
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TRIBUTES
In Honor of Brian J. Ferriso The Petrucci Family Foundation In Honor of Dr. Maribeth Graybill Roudi and Mehdi Akhavein Mary C. Becker Barbara A. Bell Richard Born RĂŠ Craig Robert Feldman and Julia Mangold Ann Flowerree Mikiko Flynn Carol Frankel Marcia Freed and Martin Schwartz Pamela Greene and Hans Kretschmer Donald J. Jenkins Salena Johnson Richard Kroll Donna L. Larson Lillian M. Li and Stephen F. Dale Mike and Judy McCuddy The Laura and Roger Meier Family Travers and Vasek Polak Amy R. Richter Pat and Trudy Ritz Arlene Schnitzer Norman Scott and Patricia McDonald-Scott Robert Shaw and Mary Skarie Greg and Cathy Tibbles In Honor of Frederick D. Jubitz Guy Barron and Nora Barron
GIFTS OF ART
Dan Bergsvik and Don Hastler Richard Louis Brown Richard Louis Brown in honor of Maribeth Graybill Mary and Cheney Cowles Wren Duffy David Filer Mark Huey and Wayne Wiegland Irwin Lavenberg Collection of the Oregon College of Arts and Craft Lucinda and David Pollack Suzanne and John Rahn Deanne and Richard Rubinstein Kevin Savetz Yowsaku Sekino Jill M. Ward Geoff Wexler
WAYS TO GIVE Every gift has the power to provide experiences that invite, inspire, and connect people with art and each other. Visit pam.to/donate or call 503-276-4365 The Museum gratefully acknowledges all members who have continued to support the Museum on an annual basis through their membership contributions. The Portland Art Museum is accredited by the American Association of Museums and is supported in part by annual contributions from the Oregon Arts Commission, the Oregon Arts Heritage Endowment Fund of The Oregon Community Foundation, the National Endowment for the Arts, and the Regional Arts & Culture Council.
GETTING A FEEL FOR ART: TACTILE ART POP-UP GALLERY
HANK WILLIS THOMAS: MILLER FAMILY FREE DAY
BOARD OF TRUSTEES We are grateful for our Trustees who lead, support, and advocate for the Portland Art Museum and Northwest Film Center. Their generosity is immeasurable to our community and is greatly appreciated. Thank you. OFFICERS
Fred Jubitz, Board Chair Pat Green, Vice Chair Cyndy Maletis, Vice Chair Mark Frandsen, Treasurer Mary Lee Boklund, Secretary
TRUSTEES Linda Andrews Amjad Bangash Sharon Barnes
Missy Bechen Dan Bergsvik Mary Blair Lisa Domenico Brooke Richard Louis Brown Mary Beth Burpee Emma Colson Jim Crumpacker Kirk Day Christelle deAsis Foster Devereux
Robyn Dillon Katy Durant Matt Felton Lana Finley Ryan Finley Ann Flowerree Stephanie Fowler Matt French Suzanne Geary Stan Geffen Alix Meier Goodman
Mark Goodman Henry Hillman Steve Holwerda Judy Hummelt Willie Kemp Selby Key Nancy Lematta Kathleen Lewis David Margulis Jay Mason Steven McGeady Shawn Menashe Erika Miller Mark Miller Jin Park Travers Hill Polak Yale Popowich Dee Poth Pat Ritz
Loren Schlachet Grace Serbu Tom Shipley Barbara Silver Eric Smidt Angela Snow Andree Stevens Peter Stott Robert Trotman Jim Winkler
LIFE TRUSTEES
Janet Geary Laura Meier Arlene Schnitzer Nani Warren Bill and Helen Jo Whitsell
PORTLAND ART MUSEUM 43
SHOP FOR ART
MUSEUM STORE
The Portland Art Museum’s retail and rental programs help support our mission of engaging and inspiring the community through art.
Rock this jewelry!
Rental Sales Gallery Located at 10th and Jefferson, just behind the Museum, the Gallery offers more than 1,200 works of original art by 250+ regional artists, all for rent or purchase. Learn more about our art and events at rentalsalesgallery.com
Museum Store
Hand-blown glass volcano paperweight $130 | $117 members
Tahitian freshwater pearls and volcanic lava beads $100 | $90 members
Browse the eclectic selections and come see what’s new and exciting for spring. Members receive a 10-percent discount.
Museum Grounds Now featuring Dovetail Coffee, the Museum’s coffee shop features locally sourced fresh and delicious snack options from Elephants Delicatessen, Gluten Free Gem, Snackrilege vegan sandwiches, and more. Also join us Friday nights 5 to 8 p.m. for Art Pub with beer, wine- and snack specials. Members receive a 10-percent discount. Find us on Instagram at @museumgrounds.
Artful Venues Planning a special event? Bring your vision to life by booking our unique venue spaces! All proceeds help fund the Museum’s education and exhibition programs. Discounts for nonprofits and off-season prices are available. Visit events.portlandartmuseum.org. Find us on social media at @artfulvenues.
44 PORTLAND ART MUSEUM
Three bead necklace brass, tagua nut, lava $33.50 | $30.15 members
MUSEUM GROUNDS Museum Grounds offers creative and delicious specialty coffee drinks, now with our new partner, Dovetail Coffee. Come and enjoy our inviting and intimate space with an arty atmosphere. No admission required!
HOURS
Monday Closed Tuesday–Wednesday 10 a.m.–5 p.m. Thursday–Friday 10 a.m.–8 p.m. Saturday–Sunday 10 a.m.–5 p.m. CRUMPACKER FAMILY LIBRARY HOURS Open by appointment. Please contact library@pam.org or call 503-276-4215
Continuing AKUNNITTINNI: A KINNGAIT FAMILY PORTRAIT Through February 23, 2020
EXHIBITION SCHEDULE Opening VOLCANO! MOUNT ST. HELENS IN ART February 8 – May 17, 2020 ART AND RACE MATTERS: THE CAREER OF ROBERT COLESCOTT February 15 – May 17, 2020 OBJECTS OF CONTACT: ENCOUNTERS BETWEEN JAPAN AND THE WEST February 29 – August 2020
TOUGHENED TO WIND AND SUN: WOMEN PHOTOGRAPHING THE LANDSCAPE Through March 8, 2020 BEING PRESENT: REVISITING, SOMEWHAT UNFAITHFULLY, PORTLAND’S MOST EXPERIMENTAL ART EXPERIMENT, THE PORTLAND CENTER FOR THE VISUAL ARTS Through June 14, 2020 THE ART OF READING: AMERICAN PUBLISHING POSTERS OF THE 1890S Through June 21, 2020
ADMISSION
Members/Children (17 and younger)* free Adults $20 Seniors (62 and older) $17 Students (18 and older with ID) $17 *Children 14 and younger must be accompanied by an adult. Tickets available online.
FREE & REDUCED
ADMISSION Every Day
Children ages 17 and younger are free.
Every Friday after 5 p.m. $5 general admission 5–8 p.m.
Free First Thursday Free admission 5–8 p.m. The first Thursday of every month.
APEX: ED BEREAL March 7 – August 29, 2020
PORTRAITURE FROM THE COLLECTION OF NORTHWEST ART Through August 2021
JOHN HITCHCOCK—BURY THE HATCHET: PRAYER FOR MY P’AH-BE March 7 – September 6, 2020
ISAKA SHAMSUD-DIN: ROCK OF AGES Through August 2021
THOUGH THERE BE FURY ON THE WAVES: VICTOR JORGENSEN AT SEA, 1943–1945 March 14 – September 20, 2020
JAPANESE ART: CURATOR’S CHOICE Ongoing
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.
CONTACTS
One-third of all visitors enjoy the Museum for free or at a highly reduced admission price. The Museum offers free admission for veterans and active-duty military.
JORYŪ HANGA KYŌKAI, 1956–1965: JAPAN’S WOMEN PRINTMAKERS May 9 – November 8, 2020
General Information Membership Information
503-226-2811 503-276-4249
Miller Family Community Free Day May 3, 10 a.m. – 5 p.m.
Visit portlandartmuseum.org/admission-access-programs
1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG
FEBRUARY MON
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2020
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PUBLIC TOURS
FAMILY TOUR
Highlights 12:30 p.m.
12:30 p.m.
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European Art 3 p.m.
Highlights 3 p.m.
1 BABY MORNING
PUBLIC TOUR
10 a.m.–noon
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Highlights 1 p.m.
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5 MIDDAY ART BREAK
6 PUBLIC TOURS
12:30 p.m.
7 PUBLIC TOUR
Highlights 1 p.m.
O ART & CONVERSATION
12 PHOTOGRAPHY COUNCIL BROWN BAG TALK
9:15 Coffee 10:15 a.m. Lecture
Noon
L 17
6:30 p.m.
8
Native American Art 3 p.m.
OPENS
FAMILY TOUR
PUBLIC TOURS
PUBLIC TOUR
9
12:30 p.m. Asian Art 3 p.m.
Noon–4 p.m.
13 PUBLIC TOURS
14 PUBLIC TOUR
Highlights 1 p.m.
15 PUBLIC TOURS
Slow Looking 6 p.m.
16 FAMILY TOUR
Contemporary Art 12:30 p.m.
12:30 p.m.
PUBLIC TOUR
Robert Colescott 3 p.m.
Highlights 3 p.m.
ARTIST TALK
Sarah Brahim 6 p.m.
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PUBLIC TOUR
Highlights 1 p.m.
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21 APEX: Ed Bereal Objects of Contact
Picture This 1 p.m.
PUBLIC TOURS
Asian Art 12:30 p.m.
5:30 p.m.
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22 OPENS
Slow Looking 6 p.m.
NEW MEMBER TOUR
24
PUBLIC TOUR
Highlights 3 p.m.
MOUNT ST. HELENS SATURDAY
Meditation 5:30 p.m.
VOLCANO VIEWS & BREWS (Vancouver)
Picture This 1 p.m.
Blasts from the Past: Considering Mount St. Helens in Art 2 p.m.
Volcano! 12:30 & 3 p.m.
Robert Colescott: A Conversation with the Curators 6 p.m.
11
LECTURE
12:30 p.m.
Robert Colescott
Slow Looking 6 p.m.
LECTURE
10
PUBLIC TOURS
Northwest Art 12:30 p.m.
Meditation 5:30 p.m.
3
FAMILY TOUR
Volcano!
Slow Looking 6 p.m.
PUBLIC TOUR
2
OPENS
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Volcano! 3 p.m.
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MARCH MON
2020
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European Art 3 p.m.
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PUBLIC TOUR
10 a.m.–noon
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Highlights 1 p.m.
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4 MIDDAY ART BREAK
PUBLIC TOUR
12:30 p.m.
Highlights 3 p.m
Robert Colescott 3 p.m.
5 PUBLIC TOUR
12:30 p.m.
PUBLIC TOURS
Native American Art 12:30 p.m.
Meditation: 5:30 p.m.
2
FAMILY TOUR
Bury the Hatchet
Slow Looking 6 p.m.
PUBLIC TOURS
OPENS
6 PUBLIC TOUR
Highlights 1 p.m.
7 FAMILY TOUR
PUBLIC TOURS
PUBLIC TOUR
Victor Jorgensen
Slow Looking 6 p.m.
12:30 p.m.
Northwest Art 12:30 p.m.
Highlights 3 p.m.
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Picture This 1 p.m.
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10 ART & CONVERSATION
11 PHOTOGRAPHY COUNCIL BROWN BAG TALK
9:15 Coffee 10:15 a.m. Lecture
Noon
L 16
8
OPENS
12 PUBLIC TOURS
13 PUBLIC TOUR
Highlights 1 p.m.
Volcano! 3 p.m.
ARTIST TALK
MOUNT ST. HELENS SATURDAY
12:30 p.m.
PUBLIC TOUR
Highlights 3 p.m.
Noon–4 p.m.
19 PUBLIC TOURS
20 PUBLIC TOUR
Highlights: 1 p.m.
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15 FAMILY TOUR
Volcano! 12:30 p.m.
Meditation 5:30 p.m.
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PUBLIC TOURS
Slow Looking 6 p.m.
Michael Lazarus 6 p.m.
17
Volcano! 3 p.m.
PUBLIC TOURS
Slow Looking 6 p.m.
Picture this: 1 p.m.
21 FAMILY TOUR
European Art 12:30 p.m.
12:30 p.m.
PUBLIC TOUR
Robert Colescott 3 p.m.
NEW MEMBER TOUR
5:30 p.m.
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Highlights 3 p.m.
VOLCANO VIEWS & BREWS (Portand Art Museum)
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6:30 p.m.
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APRIL MON
2020
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BABY MORNING
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10 a.m.–12:30 p.m. PUBLIC TOURS
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Highlights 1 p.m.
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12:30 p.m.
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12:30 p.m.
Highlights 3 p.m.
Volcano! 3 p.m.
ART CONSERVATION CLINIC
MIDDAY ART BREAK
FAMILY TOUR
Volcano! 12:30 p.m.
Meditation: 5:30 p.m.
5:30 p.m.
MOUNT ST. HELENS SATURDAY
Noon–4 p.m.
Highlights: 1 p.m.
1
SUN
4 PUBLIC TOURS
Slow Looking 6 p.m.
5 FAMILY TOUR
Contemporary Art 12:30 p.m.
12:30 p.m.
PUBLIC TOUR
Picture This 1 p.m.
Highlights 3 p.m.
Volcano! 3 p.m.
M E M B E R A P P R EC I AT I O N W E E K 7
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PHOTOGRAPHY COUNCIL BROWN BAG TALK
Noon
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PUBLIC TOURS
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Highlights 1 p.m.
Slow Looking 6 p.m.
O L
17 PUBLIC TOUR
PUBLIC TOURS
VOLCANO VIEWS & BREWS (Vancouver)
Picture This 1 p.m.
GALLERY TALK
Volcano! 3 p.m.
Highlights 1 p.m.
6:30 p.m.
Slow Looking 6 p.m.
OPENING RECEPTION
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23 Highlights 1 p.m.
29
FAMILY TOUR
12:30 p.m.
PUBLIC TOUR
Asian Art 3 p.m.
Bury the Hatchet 7 p.m.
PUBLIC TOURS
The HeART of Portland K–12 Arts Showcase 6:30 p.m.
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CONCERT
5:30 p.m.
22
Highlights 3 p.m.
Native American Art 12:30 p.m.
John Hitchcock 6 p.m.
NEW MEMBER TOUR
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12:30 p.m.
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ART & CONVERSATION
9:15 Coffee 10:15 a.m. Lecture
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PUBLIC TOUR
12
Volcano! 3 p.m.
Jennifer Rabin 6 p.m.
15
PUBLIC TOURS
Volcano! 12:30 p.m.
ARTIST TALK
14
FAMILY TOUR
Noon–4 p.m.
Meditation 5:30 p.m.
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MOUNT ST. HELENS SATURDAY
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MAY MON
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Slow Looking 6 p.m.
SHARON L. MILLER AND FAMILY COMMUNITY FREE DAY: THE HEART OF PORTLAND
Northwest Art 12:30 p.m.
10 a.m.–5 p.m.
D
Volcano! 3 p.m.
1 BABY MORNING
PUBLIC TOUR
10 a.m.–12:30 p.m.
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VOLCANO VIEWS & BREWS (Portland Art Museum)
5
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6 MIDDAY ART BREAK
Highlights: 12:30 p.m.
8 PUBLIC TOUR
Highlights 1 p.m.
Highlights: 3 p.m.
PUBLIC TOURS
7
PUBLIC TOURS
12:30 p.m.
PUBLIC TOUR
Kay WalkingStick 11 a.m.
Meditation: 5:30 p.m.
6:30 p.m.
12:30 p.m.
CONVERSATION
Highlights: 1 p.m.
Slow Looking 6 p.m.
Picture This: 1 p.m.
9 FAMILY TOUR
PUBLIC TOURS
PUBLIC TOUR
Noon–4 p.m.
12:30 p.m.
Highlights 3 p.m.
O
Volcano! 3 p.m.
11
12 ART & CONVERSATION
9:15 Coffee 10:15 a.m. Lecture
13 PHOTOGRAPHY COUNCIL BROWN BAG TALK
Noon
14 PUBLIC TOURS
15 PUBLIC TOUR
Highlights 1 p.m.
L
16 PUBLIC TOURS
Slow Looking 6 p.m.
17 FAMILY TOUR
Highlights 12:30 p.m.
12:30 p.m.
PUBLIC TOUR
Volcano! 3 p.m.
Meditation 5:30 p.m.
Highlights 3 p.m.
ARTIST TALK
ariella tai 6 p.m.
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PUBLIC TOUR
Highlights 1 p.m.
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23 PUBLIC TOURS
Slow Looking 6 p.m.
Picture This 1 p.m.
Northwest Art 3 p.m.
NEW MEMBER TOUR
CONVERSATION
24 FAMILY TOUR
Highlights 12:30 p.m.
5:30 p.m.
25
10
MOUNT ST. HELENS SATURDAY
Volcano! 12:30 p.m.
18
3 FAMILY TOUR
Joryū Hanga Kyōkai: Japan’s Women Printmakers
Slow Looking 6 p.m.
PUBLIC TOUR
2 OPENS
12:30 p.m.
PUBLIC TOUR
Highlights 3 p.m.
Precarious Places Noon–3 p.m.
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1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430
ART AND RACE MATTERS: The Career of Robert Colescott FEBRUARY 15 – MAY 17, 2020
Robert Colescott, Knowledge of the Past is the Key to the Future: The Other Washingtons, 1987, acrylic on canvas, © 2019 Estate of Robert Colescott / Artist Rights Society (ARS), New York. Rose art Museum, Brandeis University, gift of Senator and Mrs. William Bradley.