Portal, Summer 2019

SUMMER 2019

paris 1900 masterworks georges de la tour accessibility

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FROM THE DIRECTOR

3 EXHIBITIONS & INSTALLATIONS

19 NORTHWEST

FILM CENTER

Summer Film Camps for Kids and Teens

27th Portland Jewish Film Festival

Head Cleaner: Cult and Genre Oddities

Case of the Mondays

Paris 1900

Masterworks | Portland: Georges de La Tour

Akunnittinni

Dramatic Impressions

APEX: Laura Fritz

Jennifer Allora & Guillermo Calzadilla

23 MEMBERS & PATRONS

Upcoming Exhibitions

Patron Exclusives

Just for Members

Sponsor Spotlight: Bank of America

13 NEWS & NOTEWORTHY

Accessibility at the Museum

Color Line

27 PROGRAMS & ACTIVITIES

Lichtenstein Conservation

Exhibition Programs

Podcasting PAM

Additional Programs

Ongoing Programs

Public Programs

35 GIFTS & GATHERINGS 45 CALENDAR

PORTAL, VOL. 8, ISSUE 2

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: Edouard Zawiski, Place Blanche and the Moulin Rouge, 1902. oil on canvas, 21 1/2 x 15 in., Musée Carnavalet. © Musée Carnavalet / Roger-Viollet; Louise Abbéma (1858-1927).

Allegory of the City of Paris, 1902. oil on canvas, 102 3/8 x 71 1/8 in., Musée Carnavalet. © Musée Carnavalet / Roger-Viollet; Georges de La Tour (French, 1593–1652). The Magdalen with the Smoking Flame, circa 1635-37. oil on canvas, Los Angeles County Museum of Art; Tōshūsai Sharaku (Japanese, active 1794–1795), Onoe Matsusuke I as Matsushita Mikinoshin in the play A Medley of Tales of Revenge, 1794, color woodblock print with mica on paper, The Mary Andrews Ladd Collection.

FROM THE DIRECTOR The fire at Cathédrale Notre-Dame de Paris this past spring was a shocking reminder of how fragile a national treasure can be. Millions around the globe watched on their screens, aghast, as the cathedral’s towering spire burned and finally toppled.

For many, the 850-year-old cathedral has been a visual symbol for the City of Light. “It’s at the heart of the city, and the city radiates around it,” Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings, told the Portland Tribune. “It’s a visual touchpoint and for hundreds of years the heart, literally and metaphorically, of the great city. It’s a real sign of the enduring history.”

Dr. Chapin is overseeing the presentation of Paris 1900: City of Entertainment, an exhibition curated by the Petit Palais, Paris, and on view this summer at the Museum. The exhibition is a look back at Paris at the dawn of the 20th century, as the French capital transformed through modernization and culture. Paris 1900 is a portrait of the city at the height of the Belle Époque, a period of peace and prosperity in France when fine art, fashion, and entertainment flourished as never before.

The exhibition is also a portrait of a city wrestling with historic change. Georges Souillet’s 1905 painting Construction of the Métro, Place Saint-Michel, sets the scene: In the background is the 19th-century spire of Notre-Dame, juxtaposed with construction works expanding the city’s new Métro subway, a symbol of modernity and progress but also a source of displacement. Our own city is in the midst of a great deal of change; crane towers rise like spires in almost every neighborhood, a fact that is both a reason for celebration and a moment for reflection. Like Paris then and now, Portland represents a vision of creative culture and quality of life that has been alluring for many—and is now a vital challenge to preserve.

I am grateful to the generous supporters of Paris 1900 for making it possible to bring Paris to Portland this summer. Presenting sponsors The Richard and Janet Geary Foundation, The Laura and Roger Meier Family, and The Roger S. Meier Family Endowment for European Art continue the Geary and Meier families’ extraordinary dedication to the Museum, which has opened access to art through major exhibitions, significant acquisitions, expanded gallery space, and a permanently endowed curatorial chair. Longtime Museum pillar Bank of America continues to provide key support for our mission, not only as Lead Corporate Sponsor of Paris 1900, but with generous backing for the conservation of our monumental Roy Lichtenstein sculpture and for admission access programs that expand opportunities to experience art.

I am thrilled at the progress this institution has made in making art conservation a priority. Like many, I was relieved to learn that many of the treasures in Notre-Dame had been rescued from the flames, and heartened by the support for rebuilding the cathedral. It is a reminder of how important stewardship and conservation efforts are to ensure that art endures for generations. As we look back on the Belle Époque of one beloved city, I am again inspired by our community’s dedication to building a creative and inclusive future for this city we cherish.

Brian J. Ferriso The Marilyn H. and Dr. Robert B. Pamplin Jr. Director Chief Curator Director Brian Ferriso with Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings; 2 PORTLAND ART MUSEUM

LEFT: Georges Souillet (1861–1947/57), Construction of the Metro, Place Saint-Michel, 1905, oil on canvas, Musée Carnavalet, © Musée Carnavalet / Roger-Viollet.

EXHIBITIONS & INSTALLATIONS

their prowess in the arts, sciences, and new technology, and to highlight what made Paris unique from rivals London and Berlin.

JUNE 8 – SEPTEMBER 8, 2019 Main Building, Floors 1 & 2, Galleries 104, 109, 110, 209

This summer, travel back to Paris at the dawn of the 20th century and experience the splendor of the sparkling French capital as it hosted the world for the International Exposition of 1900.

Inspired by an exhibition originally presented in 2014 at the Petit Palais in Paris, Paris 1900 re-creates the look and feel of the era through more than 200 paintings, decorative art objects, textiles, posters, photographs, jewelry, sculpture, and film, and will plunge visitors into the sumptuous atmosphere of the Belle Époque.

These objects, drawn from several City of Paris museums—including the Petit Palais, the Musée Carnavalet, the Palais Galliera, the Musée Bourdelle, and the Maison de Victor Hugo— form a portrait of a vibrant and swiftly changing city.

painting, and prints. Viewers will delight to work by well-known artists such as Camille Pissarro and Berthe Morisot and will discover compelling paintings and sculpture by lesserknown masters of the time.

This was the height of the Belle Époque, a period of peace and prosperity in France when fine art, fashion, and entertainment flourished as never before. Fifty-one million visitors from around the world attended the Exposition and flooded the City of Light, where they enjoyed its posh restaurants, opulent opera house, artistic cabarets, and well-tended parks. For the French, it was an opportunity to show off

The splendor of Paris unfolds in six sections or vignettes. The visitor enters “Paris: The World’s Showcase,” which highlights the International Exposition of 1900 and the sweeping architectural and technological changes made to the cityscape to welcome the new century.

As Paris was also the self-proclaimed “Capital of the Arts,” the second section of the exhibition examines the vast range of styles and talent present in the city in the form of sculpture,

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TOP: Edmond Grandjean (1844-1909), The Place Clichy, 1896. oil on canvas, 33 1/2 x 51 1/8 in., Musée Carnavalet. © Musée Carnavalet / Roger-Viollet; Alphonse Mucha (18601939), Design for a stained-glass medallion on the façade of the Fouquet jewelry shop, 1901. pencil and watercolor on paper, 25 3/8 x 19 5/8 in., Musée Carnavalet.© Musée Carnavalet / Roger-Viollet; RIGHT: Louise Abbéma (1858-1927), Allegory of the City of Paris, 1902. oil on canvas, 102 3/8 x 71 1/8 in., Musée Carnavalet. © Musée Carnavalet / Roger-Viollet; RIGHT TOP: Auguste Rodin (1840-1917), Cupid and Psyche, ca. 1900, marble, 9 7/8 x 25 5/8 x 16 3/8 in. Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Patrick Pierrain / Petit Palais / Roger-Viollet.

The seductive Art Nouveau style, so popular in the decorative arts, is the focus of the next vignette, which features furniture, jewelry, pottery, posters, ironwork, and fans that exhibit the whiplash curve and natural inspiration of this international movement.

French fashion and style were at the heart of Parisian pride, and the next section examines

the cult and myth of la Parisienne—the ideal French woman—through textiles, paintings, prints, and decorative arts. Strolling through the city was considered one of the great Parisian pastimes and is explored in “Streets of Paris.”

New modes of transport, such as the omnibus and the newly invented bicycle, competed with horses, pedestrians, and automobiles as the 20th century unfolded. The final vignette, “Paris by Night,” features a selection of the vast amusements that made Paris the center of European entertainment, from lowly cabarets to the most refined theaters and restaurants.

The exhibition concludes with a look at a great French invention of the Belle Époque:

the moving picture. Clips from early film animate the exhibition and allow the viewer to rediscover the dawn of cinema.

Programs will explore the cultural and historical context of the exhibition in partnership with community and cultural organizations, including Alliance Française and Chamber Music Northwest. Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings, will present the opening lecture, “Paris 1900: Spectacle and Celebration.” Carol Ockman, Ph.D., Robert Sterling Clark Professor of Art at Williams College, will present a talk on Sarah Bernhardt, the reigning queen of the stage of the Belle

Époque. Northwest Film Center screenings will illuminate Paris at the birth of cinema, and additional programming will explore the role of World’s Fairs in the crafting of national and racial identities, with a focus on Portland’s Lewis and Clark Centennial Exposition of 1905.

On the Museum’s lower level, Color Line (see page 16) presents some of the remarkable photographic portraits and data visualizations of African-American life that W.E.B. DuBois assembled for an exhibit at the 1900 Paris Exhibition. Visitors can learn more about Paris 1900: City of Entertainment in the companion publication by Cécilie Champy-Vinas, Curator of Sculpture, Petit Palais Museum of Fine Arts, Paris.

Exhibition organized by the Petit Palais Museum of Fine Arts, with exceptional loans from the Musée Carnavalet – History of Paris and the Palais Galliera Museum of Fashion, Paris Musées.

Curated in Portland by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings.

PRESENTING SPONSORS: The Richard and Janet Geary Foundation, Laura and Roger Meier Family, The Roger S. Meier Family Endowment for European Art. LEAD CORPORATE SPONSOR: Bank of America; LEAD SPONSOR: Andrée Stevens; MAJOR SPONSORS: Flowerree Foundation, The Robert Lehman Foundation, Nancie S. McGraw; SPONSORS: Pat and Trudy Ritz, Grace Serbu, Norman F. Sprague Jr. Foundation, Sabine Artaud Wild, Wells Fargo, Willamette Dental Group; SUPPORTERS: Bessemer Trust, Mark and Katherine Frandsen, Lisa and Shawn Mangum, Margulis Jewelers / David and Dolorosa Margulis, Angela and Rex Snow, Greg and Cathy Tibbles, European and American Art Council of the Portland Art Museum.

Exhibition curated by the Petit Palais, Fine Arts museum, with exceptional loans from Musée Carnavalet – History of Paris and Palais Galliera, Fashion museum, Paris Musées.

MASTERWORKS | PORTLAND

GEORGES DE LA TOUR THROUGH OCTOBER 13, 2019 Main Building, Floor 2, Gallery 204

The Portland Art Museum is pleased to present Georges de La Tour’s painting The Magdalen with the Smoking Flame (circa 1635–37), a treasure of the Los Angeles County Museum of Art. The exhibition is the sixth installment of the Museum’s ongoing Masterworks | Portland series, which focuses on individual works of outstanding quality by great artists not represented in the Museum’s collection.

Georges de La Tour (French, 1593–1652) was one of the great painters of light. He mostly specialized in nighttime scenes in which artificial light sources play an active role. These were certainly not new in European art, but La Tour was exceptional for the way he used light to establish mood and to convey the essential

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qualities of the subject. Typically, the light illuminates only the essential details, and the geometry of his austere compositions endows them with monumentality.

Mary Magdalen—the leading woman among the first followers of Jesus—was the paradigm of the sinner reformed by a life of solitary contemplation and penance. Thus, La Tour’s work very appropriately captures her lost in a transcendent state. The mood of concentrated meditation is heightened by the distinct aura of light. Other than the wafting smoke, the scene is profoundly still and quiet.

Focus on an object is a basic principle of meditation, and here the Magdalen is absorbed by the flame of an oil lamp. In this context, it principally symbolizes the light of divine truth in reference to Jesus’ declaration: “I am the light of the world; whoever follows me will not walk in darkness, but will have the light of life.”

(John 8:12). Thus, in La Tour’s painting, the light becomes a naturalistic manifestation of the divine.

La Tour expressed Mary Magdalen’s contemplative state in a strikingly real way.

Everyone knows the entrancing quality of flames, and the artist used this to make her absorption poignant and real for viewers. He skillfully manipulates the light as a foil to the enveloping darkness, not only as an evocation of Jesus’ words, but to draw the spectator into the Magdalen’s state of mind. Do not miss this opportunity for close looking and in-depth understanding of one of the great Old Master paintings in America.

Curated by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art. PRESENTING SPONSOR: European and American Art Council of the Portland Art Museum, Mr. and Mrs. William A. Whitsell; SPONSORS: Ann Flowerree, William G. Gilmore Foundation, The James F. and Marion L. Miller Foundation, Marilyn Podemski and Max Podemski in memory of Evelyn Ross, Dee Poth.

practices included autobiographic narratives and chronicled intimate and sometimes harsh memories and historically resonant moments.

The prints and drawings on view also include sardonic references to the pop culture that now infuses everyday life in Kinngait (Cape Dorset), as well as nuanced depictions of family and village life.

Kinngait is a remote Arctic community located on Dorset Island near Foxe Peninsula at the southern tip of Baffin Island in the Qikiqtaaluk Region of Nunavut, Canada. The region is known internationally for its artwork, produced in places like the now-famous Kinngait Studios (West Baffin Eskimo Co-operative) since the 1940s. Pitseolak Ashoona, Napachie Pootoogook, and Annie Pootoogook are among the most recognized artists from this region.

CENTER FOR CONTEMPORARY NATIVE ART

AKUNNITTINNI A Kinngait Family Portrait JUNE 22, 2019 – JANUARY 5, 2020 Main Building, Floor 3, Gallery 300

Loosely translated, the Inuktitut word Akunnittinni means “between us.” This exhibition chronicles a visual dialogue between an Inuk grandmother, mother, and daughter—

Pitseolak Ashoona, Napachie Pootoogook, and Annie Pootoogook. Their artworks provide a personal and cultural history of three generations of Inuit women whose art

LEFT: Georges de La Tour (French, 1593–1652), The Magdalen with the Smoking Flame, circa 1635–37. oil on canvas, Los Angeles County Museum of Art; ABOVE: Pitseolak Ashoona (Inuit, 1904–83), Migration Towards Our Summer Camp, 1983. lithograph, 26 x 20 inches. Courtesy Dorset Fine Arts, Toronto, Ontario, Canada; RIGHT: Pitseolak Ashoona (Inuit, 1904–83), Dream of Motherhood, 1969. stonecut print. Courtesy of Dorset Fine Arts, Toronto, Ontario, Canada.

This exhibition is curated by Andrea R. Hanley (Navajo), and organized by the Museum of Contemporary Native Arts at the Institute of American Indian Arts, Santa Fe, New Mexico.

Special thanks to the Native Arts and Cultures Foundation for their generous support of this exhibition.

The Portland Art Museum’s Center for Contemporary Native Art was established through a grant from the Institute of Museum and Library Services and generous gifts from Mr. Mark J. and Dr. Jennifer Miller, Taffy Gould, Anonymous, and Exhibition Series Sponsors.

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DRAMATIC IMPRESSIONS Japanese Actor Prints THROUGH OCTOBER 13 Main Building, Floor 1, Gallery 107

Woodblock prints of actors on the kabuki stage began to flourish in the late 17th century in Japan’s great cities. A quintessential form of urban entertainment, kabuki brought to life vivid scenes from dramatic storylines, at turns hilarious, tragic, breathtaking, or bawdy. Pictures of actors, or yakusha-e, were inextricably tied to the world of theater and the fan culture it promoted. Printed portraits could highlight exciting moments of suspended action or dramatic tension. Above all, they captured the distinctive poses of an actor, making the actor iconic through his most characteristic expressions and recognizable roles. Drawn from the Museum’s collection, Dramatic Impressions offers a glimpse into this culture of celebrity, bringing together 37 actor prints from the 18th to 20th centuries.

Kabuki theater was originated by itinerant female actors. In its early decades, it was

performed exclusively by female actor troupes, until the Tokugawa shogunate banned women from the stage. From 1629, male actors played both male and female roles. Performances were staged from morning to sunset in kabuki playhouses, drawing a diverse crowd of townspeople. Filled with villains, heroes, and tragic lovers, kabuki’s grand performances offered all the emotional thrills of great drama: sensational plots, elaborate and stylized costuming, sophisticated music and dance sequences, and the powerful performances of superb actors.

recent acquisitions and rare masterpieces seldom displayed.

Organized by the Portland Art Museum and curated by Jeannie Kenmotsu, Ph.D., The Japan Foundation Assistant Curator of Japanese Art. Support for this exhibition was made possible by The Japan Foundation.

An actor’s name was central to his status as an icon. The names of the most famous, like Segawa Kikunojō or Ichikawa Danjūrō, would be passed on to worthy successors. These actor lineages were an important system for training talented apprentices, but they also reinforced a cult of celebrity. Luminaries of the stage became idols to avid fans: actors’ poetry, fashion, and tidbits about their life offstage were scrutinized by audiences eager to know more about their favorite stars. The publishing industry worked hand-in-hand with the kabuki theaters to promote this celebrity culture.

Nearly all of the prints in Dramatic Impressions are on view for the first time, including many

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LEFT: Tōshūsai Sharaku (Japanese, active 1794–1795), Onoe Matsusuke I as Matsushita Mikinoshin in the play A Medley of Tales of Revenge, 1794, color woodblock print with mica on paper, The Mary Andrews Ladd Collection; TOP: Toyohara Kunichika (Japanese, 1835–1900), Memorial Portrait of Actor Ichikawa Danjūrō IX as Musashibō Benkei, 1903, color woodblock print with embossing on paper, Museum purchase: Margery Hoffman Smith Fund; ABOVE: Utagawa Kunisada (Japanese, 1786–1864), Actor Ichikawa Danjūrō VIII Making His Debut Perfomance of Shibaraku, 1832, color woodblock print with metallic pigments on paper (surimono), The Mary Andrews Ladd Collection; RIGHT: Allora & Calzadilla. The Bell, the Digger, and the Tropical Pharmacy, 2014. HD video. 50.8 minutes 99.1 seconds; 20 minutes 39 seconds. © Allora & Calzadilla; Courtesy Lisson Gallery.

JENNIFER ALLORA & GUILLERMO CALZADILLA The Bell, the Digger, and the Tropical Pharmacy THROUGH SEPTEMBER 22 Modern and Contemporary Art, Floor 3, Gallery 307

Jennifer Allora and Guillermo Calzadilla live and work in San Juan, Puerto Rico. They employ a research-oriented practice as a means to uncover intersections and complicities between history, cultural institutions, and geopolitical events. The interdisciplinary nature of Allora and Calzadilla’s research leads to multifaceted art works that include performance, sculpture, sound, video, and photography. The internationally acclaimed duo represented the United States at the Venice Biennale in 2015.

The Bell, the Digger, and the Tropical Pharmacy (2014) shows an excavator demolishing an industrial building. The excavator has been fitted with a cast-iron bell that transforms it into a “sonic digger.” The structure is a controversial

GlaxoSmithKline prescription drug plant in Cidra, Puerto Rico, closed in 2009 after a female whistleblower, who had worked as a quality assurance manager for the company, exposed serious contamination problems.

The tolling of a bell suggests a moment of public memorial or commemoration for this site, which had been previously associated with health and progress. The sonic digger, however, creates a cacophony when it smashes into the building and claws away the architecture.

From this perspective, the noise evokes the discordant exploitation wrought by U.S. and multinational corporations on the people and land of Puerto Rico. Allora and Calzadilla present a moment of liberation and reclamation over colonialist and capitalist oppression. As artists living on the island, they have worked fearlessly to create works of art that are materially rich and engage the senses, while also

providing moments of reflection on the violence of militarism and harm of corporate overreach that take place in occupied territories.

The Bell, the Digger, and the Tropical Pharmacy continues the Museum’s program of significant video art installations on the third floor of the Jubitz Center for Modern and Contemporary Art. This work by Allora and Calzadilla is on loan from the collection of Matt and Jasmin Felton. Matt Felton is a Museum Trustee and a founding member of the Contemporary Collectors Circle.

Curated by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art.

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SQUIRRELS, TIGERS, AND TOWERING PEAKS Korean Paintings from the Mary and Cheney Cowles Collection JULY 6 – OCTOBER 27, 2019 Main Building, Floor 1, Gallery 108

This summer, the Museum offers a unique opportunity for visitors to immerse themselves in the Korean art of ink painting, through a select group of works from the Mary and Cheney Cowles Collection that will be on public view for the first time. Dating from the 16th to the early 20th century, these paintings present a wide variety of aesthetics, subject matter, and expressive moods. Images of squirrels and grapevines show artists indulging in humorous ink play, and a large, colorful portrayal of a mother tiger and her three cubs, rendered in carefully detailed brushwork, tickles the imagination and reminds viewers of the importance of tigers in Korean mythology. The several landscapes in the exhibition, featuring

imaginary scenery of soaring mountains and quiet lakes, testify to a reverence for nature.

Among them is an exceptionally rare treasure, an album of evocative landscapes by the 17th-century artist Lee Jeong; although Lee is lavishly praised in contemporary documents, few of his paintings survive, as he died at a young age. Another fascinating landscape on view is an example of pyrography, in which the image was made by a hot iron applied to the paper. Along with a dynamic calligraphy screen, these paintings illuminate traditional Korean art at its most eloquent and inventive.

Organized by the Portland Art Museum and curated by Sangah Kim, Cowles Curatorial Fellow in Asian Art.

Thank you, Sangah Kim After three years at the Museum, Sangah Kim, Cowles Curatorial Fellow in Asian Art, will leave the Museum in August 2019. During her tenure, she has curated or co-curated several thematic gallery rotations in the Chinese and Korean galleries, including Five Buddhas: Masterpieces from the Mattielli Collection, Straddling Borders, and The Shape of the Land. Kim played a major role in arranging for the repatriation to Korea of the Five Buddhas painting, and she has been indispensable in developing the Museum’s relationships with Korean cultural institutions and foundations. She has also researched and re-cataloged many artworks in the Museum’s Asian collection, especially Chinese and Korean ceramics, prints, and decorative arts. As she started her term with support from Mary and Cheney Cowles, it is especially fitting that her capstone project at the Museum will feature outstanding works from their collection.

—Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art

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LEFT: Unknown artist, Grapevine and squirrels, Joseon Dynasty (1392–1910), ink on paper, collection of Mary and Cheney Cowles; RIGHT: Laura Fritz, detail of Specimen A038, 2019, courtesy of the artist.

LAURA FRITZ AUGUST 24, 2019 – FEBRUARY 23, 2020 Main Building, Floor 4, Gallery 403

Laura Fritz will combine an immersive installation and video-based work for her contribution to the APEX exhibition series.

Working closely with the architectural space that APEX inhabits, Fritz will create a site-specific installation that responds to various points of corners, walls, and the floor, taking signals from furniture that allude to tables, cabinets, or other ergonomic forms. Juxtaposing these controlled spaces, Fritz brings in natural elements and forms, particularly through her video and light pieces referencing the movements of bees, birds, cats, moths, and butterflies. Fritz’s own research, dedicated to such seemingly disparate subjects

as architectural sites and the motions of bees, forms a strange and intriguing marriage in her work, opening up questions of what defines the natural and made worlds—where do science and superstition meet, and how do we negotiate our constructed realities to that of the unknown?

Based in Portland, Fritz creates installations noted for the psychological interplay between space and objects. She has exhibited her work nationally, including at the Des Moines Art Center, Iowa; Reed College, Portland; SOIL, Seattle; Aljira Center for Contemporary Art, Newark, New Jersey; University of Oregon; and the Couture Stipend Series solo show at New American Art Union in Portland. Fritz is also the recipient of an Oregon Arts Commission Individual Artist Fellowship in Visual Arts (2014). She holds a BFA from Drake University and also attended Pacific Northwest College of Art.

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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COMING SOON Fall 2019 HANK WILLIS THOMAS All Things Being Equal…

OCTOBER 12, 2019 – JANUARY 12, 2020

The first major survey of one of America’s most important conceptual artists, All Things Being Equal… will focus on how Hank Willis Thomas (American, born 1976) addresses the visual systems that perpetuate inequality and bias. In skillfully crafted works that reframe commercial and media images, Thomas invites the viewer to consider the role of popular culture in instituting and reinforcing discrimination— and the role of art in creating awareness and change. Organized by the Portland Art Museum and co-curated by Julia Dolan, Ph.D., The Minor White Curator of Photography, and Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art.

Summer 2020

Spring 2020 VOLCANO! Mount St. Helens in Art FEBRUARY 8 – MAY 24, 2020

Marking the 40th anniversary of the eruption of Mount Saint Helens, this exhibition explores the overwhelming power of nature and the epic cycles of volcanic destruction and regeneration with stunning photographs, paintings, and drawings of the mountain from 1845 to the present day. Curated by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.

ART AND RACE MATTERS The Career of Robert Colescott

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.

FEBRUARY 15 – MAY 17, 2020

The first comprehensive retrospective of one of America’s most compelling and controversial artists, Art and Race Matters traces the work of Robert Colescott (1925-2009), who established his career in Portland with the support of gallery owner and philanthropist Arlene Schnitzer, then made his mark in the 1970s with a series of deconstructed art-historical masterpieces that challenged taboos around racial stereotyping.

Organized by Lowery Stokes Sims, a longtime Colescott scholar, and Raphaela Platow, Director and Chief Curator at the Contemporary Art Center, Cincinnati, with assistance from Matthew Weseley.

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LEFT: Hank Willis Thomas, Strike, 2018, stainless steel with mirrored finish, © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York; TOP: Henk Pander, American, born The Netherlands, 1937, Eruption of Saint Helens from Cable Street, 1981 (a.k.a. View of Portland), oil on linen, City of Portland, courtesy of the Regional Arts and Culture Council; RIGHT: Frida Kahlo, Diego on my Mind, 1943, oil on masonite, courtesy of the Jacques and Natasha Gelman Collection.

NEWS & NOTEWORTHY

ACCESSIBILITY AT THE MUSEUM Making great art accessible to everyone is at the core of the Museum’s mission. Providing the opportunity for people of all ages and abilities, including those who experience disabilities, to connect with art is central to the Museum’s purpose and programs.

The Museum has long offered tours for visitors who are Blind or partially sighted, and has in recent years developed a partnership with the Oregon Chapter of the Alzheimer’s Association to offer artNOW, a program that welcomes individuals living with dementia and their care partners. Service animals are always welcome, aides and care providers receive free admission, and wheelchairs and assisted listening devices are always available. However, navigating the existing galleries across several historic buildings has become increasingly problematic after decades of expansion, and over time, the need to create better connections has become a priority.

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“I am proud of our ability over the years to remove some cost barriers to visiting,” said Director Brian Ferriso. “And now our focus is on removing physical barriers and creating a greater sense of welcome, ease, and beauty for everyone who visits or passes by the Museum.”

Early conversations with stakeholders about the Museum’s Rothko Pavilion expansion and renovation revealed the need to address the Museum’s accessibility on a holistic level— from ease of physical access to programs and exhibition design, among other things. From these conversations grew an Accessibility Architecture Task Force, a series of open community dialogues, the formation of a permanent Accessibility Advisory Committee, and the recent hire of Becky Emmert as the Museum’s first-ever Head of Accessibility.

Emmert experiences multiple disabilities, is hard of hearing and is an active member of the local Deaf Community; she brings experience and expertise in facilitation, advocacy, and evaluation to this new position. She holds degrees in American Sign Language/English

Interpreting and Rehabilitation Counseling with emphasis on Deaf Services, and has worked in a variety of settings including mental health counseling, job development, youth transition, and independent living settings.

“I am honored to be able to join Portland Art Museum at this exciting time of increased focus on diversity and commitment to making the museum accessible for all,” Emmert said.

“I look forward to collaborating with staff, the Accessibility Advisory Committee, guests, and the community to find innovative ways to bring about the changes needed to ensure that the wide range of exhibits and programming that the Museum offers are accessible and welcoming to all guests.”

With the Rothko Pavilion project prompting transformational thinking around accessibility and Universal Design, the Museum is positioned to create an entire campus and art experience that not only considers the needs of visitors with disabilities, but centers them.

The newly formed Accessibility Advisory Committee is part of the Museum’s long-term commitment to build lasting relationships with Deaf and Disability community members.

Committee member responsibilities include advising staff on the accessibility and inclusiveness of the museum’s programs and policies, offering input about exhibitions, education programs, and the museum’s architectural projects. The committee members are Myles de Bastion, Cathleen Casey, Larry Cross, Tyra Lovato, Gabriel Merrell, Beth Omansky, Myrlaviani Perez-Rivier, Angel Ray, Alejandra Sanchez-Hernandez, Waddah Sofan, Neesha Strickland, Christina Wienholz, and Philip Wolfe.

Accessibility Advisory Committee member Larry Cross said, “The new accessibility vision will develop a seamless campus, physically accessible to everybody and Every Body in all three buildings. The directive of ‘accessibility’ also expands its meaning to emphasize a new goal of welcome to far more people, making

the Museum accessible because the new project will invite and entice people to attend and join the Museum. That includes developing new programs that encourage the widest demographic of people to become involved with the Museum.”

The Rothko Pavilion design was recently unanimously approved by the City of Portland Historic Landmarks Commission. The design,

by Vinci Hamp Architects (Chicago) and Hennebery Eddy Architects (Portland), incorporates many Universal Design elements— features and improvements that go beyond the application of the regulatory requirements and guidelines of the Americans with Disabilities Act (ADA), the Americans with Disabilities Act Accessibility Guidelines (ADAAG), and Architectural Barriers Act (ABA) Accessibility Standards. Examples include cohesive wayfinding and intuitive circulation; equitable access into the building and through the building; gender neutral restrooms; the use of contrasting textures and color values for ease of

LEFT: Becky Emmert, the Museum’s new Head of Accessibility, with Mike Murawski, Director of Learning and Community Partnerships.

ABOVE: A design rendering of the proposed Rothko Pavilion, which will create a campus that makes meaningful art experiences more accessible to all.

navigation; and unified elevator access.

“The Portland Art Museum is truly a community resource for Portland and the surrounding region,” said Andrew Smith, AIA, Hennebery Eddy Architects. “The input we’ve received from the Accessibility Advisory Committee has been of tremendous value to the design team in our pursuit of the project goals.”

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COLOR LINE In an exhibit at the 1900 Paris Exposition, W.E.B. Du Bois presented a remarkable portrait of African-American life. A selection of these photographs and data charts at the Museum invites visitors to critically engage with the visual dynamics of race.

At the International Exposition of 1900 in Paris, American sociologist, historian, and civil rights activist W.E.B. Du Bois put together “The American Negro Exhibit,” a remarkable collection of more than 300 photographs of African-American men and women, homes, churches, businesses, and universities. These photographs were paired with a series of charts

and graphs designed by Du Bois to visualize data about the descendants of former slaves in the United States. The exhibit directly challenged racist stereotypes and notions of racial segregation that were pervasive at the time. As part of this exhibit in Paris, Du Bois presented his prophetic and poetic statement, “The problem of the 20th century is the

problem of the color line”—a problem of the human condition that remains unresolved to this day.

Combating these effects on a personal level, the photographs tell a story of beauty, strength, excellence, and—most poignantly of all—humanity. Collaborating with Booker T. Washington and Thomas Calloway, Du Bois chose images meant to showcase the presence, progress, and excellence of African Americans who, at the time, represented the first generation after slavery. Through his data visualizations, Du Bois used the striking visual language of bright colors and bold lines to convey the “color line” to a European audience.

The exhibit won a gold medal at the Paris 1900 Exposition and is now part of the collection at the Library of Congress in Washington, D.C. This summer, a selection of these photographs and data charts from Du Bois’ “The American Negro Exhibit” will be reproduced and placed on view here at the Museum, along with a reading-room space and additional resources.

Developed by a project team of Museum staff across departments including Alex Haynes, René Deras, Adam Garcia, John Goodwin, Grace Kook-Anderson, Ella Ray, Ted Smith, and Jeremiah Wyatt, Color Line (on view June 15 – October 27, Main Building, Floor LL, LL3) invites visitors to critically engage with the visual dynamics of race at the moment of the 1900 Paris Exposition and beyond.

“The main influence for this project is the humanity that lies within framing one’s own personal history,” remarks Alex Haynes, who works in the Museum’s Learning and Community Partnerships department and was a member of this exhibition’s project team. “After running into dead ends when researching my own family history, I began to increasingly value oral histories and photographs that came from my grandparents and family members. There’s something personal and beautiful to the way that Du Bois documented and showcased the excellence of the first generation of African Americans after slavery. My hope is to bring that narrative to the forefront and emphasize how much that display of culture and humanity still means, more than 100 years later.”

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began in March, when the sculpture was lifted by crane and placed on top of the concrete footing, facilitating future preservation and movement of the sculpture. Repainting in June will be performed over several weeks by a team specialized in using high-performance paints and carrying out high-quality finishes on unique artworks. Contractors will erect an enclosed scaffolding structure to eliminate dust, wind, and rain creating as controlled environment as possible.

ICONIC ROY LICHTENSTEIN SCULPTURE GIVEN CONSERVATION TREATMENT Bank of America and Roy Lichtenstein Foundation support work to protect Brushstrokes for the next generation.

As the weather grows warmer, it’s common to see canopies erected for special events outside the Museum. This June, however, a large tent in front of the Mark Building will contain an exceptional and essential activity: conservation treatment to preserve Roy Lichtenstein’s monumental Pop Art sculpture Brushstrokes, a familiar icon on Portland’s South Park Blocks.

A central figure in the Pop Art movement of the 1960s, Roy Lichtenstein (American, 1923–1997) became best known for his paintings of comic-strip figures rendered in handpainted Benday-dot patterns. The monumental sculpture at the Museum is from late in Lichtenstein’s career after he shifted his focus to three-dimensional media and began producing large-scale sculptures for public places, including several based on the Brushstrokes paintings.

On permanent display outside the Mark Building since 2005, Brushstrokes (1996) was a gift to the Museum from Prudence M. Miller and her family, installed to coincide with the opening of the Jubitz Center for Modern and

Contemporary Art. It has stood as a beacon announcing the Museum to visitors ever since.

Fabricated in 2002, the sculpture is showing signs of paint degradation due to continuous exposure. Although steps have been taken to prolong the life of the paint, fading, chalking, and peeling indicate failure of the coating and the need for more invasive measures.

A project of this scale and complexity requires coordinated efforts by many parties and is being carried out under the leadership of Portland Art Museum Conservator Samantha Springer. Starting with ongoing consultation with the Roy Lichtenstein Foundation, to hiring specialized contractors to carry out work on site, and even measuring colors with a spectrophotometer to ensure Lichtenstein’s original color palette is achieved, Springer will be involved in every detail, including fundraising. This project would not be possible without funding through grants from the 2018 Bank of America Art Conservation Project (see page 27) and the Roy Lichtenstein Foundation.

The first phase of the conservation project

LEFT: W.E.B. Du Bois, Occupations of negroes and whites in Georgia, from The Georgia Negro: A Study, 1900, Library of Congress Prints and Photographs Division; ABOVE: Conservator Samantha Springer (foreground) supervising the move of Roy Lichtenstein’s Brushstrokes in March 2019; Roy Lichtenstein, Brushstrokes, 1996, painted aluminum, Gift of Prudence M. Miller and her Family, © Estate of Roy Lichtenstein.

“We are grateful to Bank of America and the Roy Lichtenstein Foundation for their generosity and commitment to this conservation project,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director of the Portland Art Museum.

“Brushstrokes is an icon not only for the Museum, but for the neighborhood as well, and we are committed to preserving it for future generations.”

The Brushstrokes conservation is only one part of the Museum’s ongoing stewardship of its collections, a central goal of the institution.

This spring the Museum was awarded a significant multi-year grant that will provide immense support to the Museum’s conservation facilities, increase specialized staff, and provide opportunities for collaboration among art conservators in the greater Pacific Northwest region.

“I’m thrilled for this acknowledgement and what comes next,” says Springer, who joined the Museum in 2015 as the first full-time conservator dedicated to its permanent collection of more than 50,000 artworks.

“The Museum has a remarkable, diverse, and growing collection of art, and this support is just the boost we need to increase our conservation capacity and enhance our ability to sustain it for future generations to enjoy.”

Learn more about the Portland Art Museum’s conservation projects at portlandartmuseum.org/conservation.

Watch Conservator Samantha Springer at work in “s.a.m.@PAM” videos on the Museum’s YouTube channel.

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THE PORTLAND ART MUSEUM PODCAST The Portland Art Museum is pleased to announce a brand new audio series featuring stories generated by the broader Museum community—artists, partners, visitors, educators, and more. The Museum invites anyone to suggest an idea for an episode and help bring it to life. The inaugural episodes feature complete audio interviews with the eight artists from the map is not the territory, hosted by Grace KookAnderson, the Arlene and Harold Schnitzer Curator of Northwest Art.

almost always be different, and could even include you. This new podcast launched the same day the Museum won a podcast award from XRAY.FM for Reflections on Common Ground, a podcast series partnership with Portland Meet Portland that was released in collaboration with Common Gound: Photographs by Fazal Sheikh, 1989–2013 in May 2018. You can listen to the Portland Art Museum podcast at portlandartmuseum.org/ podcast or on your favorite podcast app.

In an effort to reflect the widest possible scope of perspectives, the voices in the Podcast will

Have an idea for the Museum podcast?

Submit your idea at pam.to/podcastidea

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TOP: Reflections on Common Ground podcast recording with Portland Meet Portland during the Miller Family Free Day, 2018; LEFT: Jon Richardson (right) with Kristin Bayans (left) receiving the XRAY.FM Vigilant Awareness Award.

NORTHWEST FILM CENTER

“QUIET ON THE SET” Echoes Through the Northwest Film Center’s Film Camps for Kids + Teens.

BY ELLEN THOMAS, EDUCATION DIRECTOR OF THE NORTHWEST FILM CENTER

Summer is the perfect time for children and teenagers to explore interests not offered in school, or which they enjoy on their own and want to pursue more deeply. Given that they’re surrounded by today’s myriad forms of digital communication, it’s no surprise many young people (and their parents) are fascinated by the world of filmmaking. Summer Film Camps for Kids + Teens are a central part of the Northwest Film Center’s offerings precisely for this reason.

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As an extension of the Center’s longstanding adult education program of classes and workshops for aspiring artists and avocational community learners, Film Camps for Kids + Teens are held in the Film Center’s facility just two blocks from the Portland Art Museum main campus. Learning from the Center’s award-winning faculty of teaching artists/ mentors and using much of the same camera and editing equipment as adult learners, young campers get a true taste of what it’s like to plan and make a movie from start to finish, be on a film crew, and identify as a young creative with a completed film under their belt.

As one student put it, “The camp really helped me understand film and made me more confident in my work and my future.” And as one parent observed, “My daughter started using the skills she learned right away and now

continues with her own camera. I was so proud to see her name in the credits.”

Camps generally run for a week, meeting from Monday to Friday between the weeks of June 17 and August 12. The camps are open to all, and no previous experience or personal equipment is required. The emphasis is on making new friends, learning about storytelling and technology, and having fun.

Digital Moviemaking camps are offered over multiple weeks to both the age group entering grades 4 through 6 and the group entering grades 6 through 8. The younger set learns the basics of visual storytelling and experiments with otherworldly universes using special effects and green screens. The middle-school set works together as a professional film crew to plan, direct and edit a wacky sciencefiction script with plenty of room for creative interpretation.

Stop-Motion Animation camps, also offered over multiple weeks to groups entering grades 4 to 6 and 6 to 8, enable students to use Dragonframe software to bring their drawings and artwork—and some fun objects—to life, frame by frame.

Computer Animation, for students entering grades 6 to 8, takes animation into the computer software realm, introducing Adobe Animate software and the principles of masking and layering.

Teens are Film Camp’s fastest-growing demographic, and there are expanded offerings this year for this age group. Those entering grades 8 to 10 can choose from an older student section of Computer Animation (above); Digital Cinematography, which introduces concepts of camera framing, lighting, and movement on “pro-sumer” digital cameras; Digital Editing, which teaches principles and continuity and approaches to combining images and sounds effectively with Adobe Premiere software; and Digital Motion Graphics, which peeks into the world of digital visual effects using Adobe After Effects software. Multiple sections of all of these camps are available.

Older teens entering grades 10 to 12 who love to write can learn all about character development, constructing scenes, and the dramatic arc in Screenwriting (July 1–3 and July 5). Explorations in 16 mm (July 1–3 and July 8–10) allows students to experience film in its classic form (16 mm analog) while experimenting with different artistic approaches to image-making. The ultimate destination for an in-depth pre-college experience, Media Arts Academy for Teens is a two-week boot camp in dramatic filmmaking for those with career aspirations in the film arts. Participants

create their own original films and are directly involved in scripting, casting, directing, working with actors, shooting, lighting, sound recording, editing, and more! Two sections are offered: July 15–19 and 22–26, and August 5–9 and 12–16.

Family members and friends who hear stories about Film Camp at home throughout the week are rewarded with a screening on the big screen on the last camp day, complete with popcorn and personal testimonials from the young filmmakers about their experiences.

After the lights go up and elated campers gather up their belongings to go home, the films continue to live on as part of an online camp video album for sharing with family and friends.

Registration for Film Camps is now open. Needbased tuition support is available thanks to members and friends. More detail, including a complete list of times and dates, can be found at nwfilm.org.

PORTLAND ART MUSEUM 21

HEAD CLEANER Cult And Genre Oddities WEEKEND SCREENINGS IN THE WHITSELL AUDITORIUM, SEE NWFILM.ORG FOR DATES

With a focus on the subversive, the low-budget, and the flat-out strange, Head Cleaner invites viewers into a video store of the mind while simultaneously expanding on some of the themes established by the popular PIFF After Dark sidebar at the Portland International Film Festival. Expect sci-fi, horror, and other marginalized cinema classics rescued from video purgatory.

27TH PORTLAND JEWISH FILM FESTIVAL JUNE 16 – 30 WHITSELL AUDITORIUM

Co-presented by the Northwest Film Center and the Institute for Judaic Studies, the 27th annual Portland Jewish Film Festival explores the diversity of Jewish identities, how Jews are perceived in society, and the ever-changing and complex social and political landscape of Jewish culture and identity. While the Ffestival celebrates the diversity of Jewish history, culture, identity, and filmmaking, these films—and the stories they tell—resonate beyond their settings and speak to universal experiences and issues that confront our common humanity.

CASE OF THE MONDAYS ONGOING MONDAY-NIGHT SCREENINGS IN THE WHITSELL AUDITORIUM

This revolving, ongoing series of classic films and cutting-edge new work will get you moving into the week. Offering a broad look at cinema in all its various forms, with special attention to under-seen or neglected work, the series focuses on classic American films both independently produced and studio-made, experimental cinema in all its various modes, essential foreign films from all over the world, and documentary both contemporary and historical.

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TOP: Promise at Dawn (2017), directed by Éric Barbier, France; BOTTOM: La Religieuse (1966), directed by Jacques Rivette, France; MIDDLE: Phantom of the Paradise (1974), directed by Brian De Palma, USA.

MEMBERS & PATRONS

PATRON SOCIETY

Our Patron Society members are among our most generous donors. Patrons provide vital support each year and help us serve more than 330,000 visitors annually, enriching the lives of families and individuals across the region through the power of art. Our Patrons’ generous investments also contribute to advancing the Museum as a cultural resource that connects the Northwest to meaningful arts and programming.

In recognition of their generosity, Patron Society members are offered a host of opportunities throughout the year. These opportunities are designed to enhance their connection to the Portland Art Museum in new and meaningful ways. To learn more about the Patron Society and any of the opportunities below, contact Brianna Hobbs at 503-276-4312.

MASTERWORKS | GEORGES DE LA TOUR

SAVE THE DATE:

AUGUST 14, 6 P.M.

OCTOBER 11

Join curator Dawson W. Carr, Ph.D., The Janet and Richard Geary Curator of European Art, for a deep look at Georges de la Tour’s The Magdalen with the Smoking Flame, the sixth installment of the Museum’s ongoing series Masterworks | Portland.

WELCOMING RECEPTION FOR KATHLEEN ASH-MILBY

HANK WILLIS THOMAS: ALL THINGS BEING EQUAL… MEMBER PREVIEW OCTOBER 12 OPENING CELEBRATION DINNER & AFTER-PARTY

Join us to celebrate the opening of the first major survey of one of America’s most important conceptual artists. Hank Willis Thomas: All Things Being Equal… will be a thorough and scholarly— yet purposefully approachable—exhibition that situates the artist’s work within the larger field of American art history while encouraging communities within and beyond the museum space to engage with issues concerning race, difference, and inequality in America through the power of art.

More information to come.

SEPTEMBER 19, 5:30 P.M.

In partnership with the Native American Arts Council and the Native Advisory Council, join us in celebrating Kathleen Ash-Milby, the Portland Art Museum’s newly appointed Curator of Native American Art.

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ABOVE: Hank Willis Thomas, We The People, 2015 quilt made out of decommissioned prison uniforms, © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York; RIGHT: Henri Gervex (1852–1929), An Evening at the Pré-Catelan, 1909, oil on canvas, Musée Carnavalet, © Musée Carnavalet / Roger-Viollet.

GALA June 29 Patrons are invited to experience the splendor of Paris at a special gala dinner celebrating the Paris 1900 exhibition. Chaired by Janet H. Geary, this memorable evening will include a special look at the exhibition, followed by a French-inspired fête with cocktails, fine dining paired with a selection of wines, dancing, a special performance by China Forbes, and more!

All proceeds from the Gala benefit the Paris 1900 exhibition and accompanying programs.

Space is limited. For information on tickets and sponsorship, please contact Susan Whittaker at 503-276-4303.

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MEMBER EVENTS SUMMER MEMBERS NIGHT

PARIS 1900 Member Preview

JULY 18, 5:30 – 8:30 P.M.

JUNE 7, 10 A.M. – 5 P.M.

VISITING THE MUSEUM AS A MEMBER

Join us for a vibrant night at the Museum in celebration of our summer special exhibitions.

Our Summer Members Night will be a treat for the senses!

Museum members can view this spectacular exhibition one day early!

Admission is FREE for all current members (a savings of up to $20 per ticket).

No advanced ticketing required; Members only.

How to reserve tickets for Museum admission:

This is sure to be an engaging evening of drinks, appetizers, tours, and activities—just for members!

Free to members. Reservations are required and space is limited. Watch your inbox for your email invitation to reserve tickets and learn more. This event is for Members only.

Online: Be sure to sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added tickets to your shopping cart and proceeded to the checkout. Remember to print your e-ticket/ receipt and present it at the Museum’s box office for entry.

On site: Visit the Museum’s box office and check in with your membership card* for admittance. *Current membership card and photo identification will be required for entry on the day of your exhibition visit. Member tickets are limited to the named individuals on your membership cards.

Do we have your email?

Don’t miss out!

Register online to receive our electronic notifications and monthly e-news. Sometimes special member opportunities become available on short notice. When this happens, the only way for us to quickly communicate with you is via email. Visit portlandartmuseum.org and never miss another announcement.

Questions about your membership status?

Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs. Please take a moment to review this important information.

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Henri de Toulouse-Lautrec (1864-1901). Mademoiselle Eglantine’s Troupe, 1896. Color lithograph, 24 1/4 x 31 1/4, Musée Carnavalet. © Musée Carnavalet / Roger-Viollet.

SPONSOR SPOTLIGHT Bank of America’s support for the Museum reflects its strong community leadership Throughout the Museum this summer—inside and out—visitors can see the results of generous support and community leadership from Bank of America, a steadfast friend of this institution and the arts.

In the Museum’s main building, Bank of America is the lead corporate sponsor of the splendid special exhibition Paris 1900: City of Entertainment. The exhibition is an artistic look back at the French capital at the height of the Belle Époque, when fine art, fashion, and entertainment flourished.

Outside the Museum’s Mark Building, the Bank of America Art Conservation Project is funding essential conservation work to protect one of the Museum’s most iconic artworks, Roy Lichtenstein’s monumental Pop Art sculpture Brushstrokes. (See page 17 for more about the conservation project.)

At the box offices at both entrances, the bank’s support enables frequent access to great art experiences for its cardholders. Bank of America sponsors Museums on Us, which provides free access to Bank of America, LEFT to RIGHT: Jessica Hewitt, Vice President, Bank of America; Director Brian Ferriso; Conservator Samantha Springer; Roger Hinshaw, Market President for Oregon and Southwest Washington, Bank of America; and Monique Barton, Senior Vice President, Bank of America.

Merrill Lynch, and U.S. Trust credit or debit card holders over the first full weekend of every month at the Museum.

Bank of America has been a longstanding supporter of the Portland Art Museum’s mission. In 2017, The Wyeths: Three Generations, Works from the Bank of America Collection came to Portland through Bank of America’s Art in Our Communities program, which has loaned more than 120 exhibitions worldwide since the program’s launch in 2008.

Bank of America made a lead $600,000 endowment gift in 2008 to support free access for all school tours at the Museum. Thanks to this gift and to the other donors who joined with Bank of America, more than 1,000 schools and 30,000 students visit the museum for free on a yearly basis.

The Bank of America Art Conservation Project is a key element of Bank of America’s program of arts support worldwide. The project provides grant funding to nonprofit cultural institutions throughout the world to conserve historically or culturally significant works of art that are in

danger of deterioration. Twenty-one major art restoration projects across six countries and in 11 U.S. cities are receiving grant funding through the 2018 Bank of America Art Conservation Project, including the conservation treatment of Lichtenstein’s Brushstrokes here in Portland.

“We are very pleased to be able to help Portland Art Museum preserve one of Portland’s most beloved and visible public works of art,” said Roger Hinshaw, Bank of America’s Market President for Oregon and Southwest Washington. “Bank of America’s commitment to preserving and supporting the arts stems from the belief that the arts matter. We know the arts play a critical role in creating thriving communities and economies.”

To learn more about how your organization can support the Portland Art Museum’s mission, contact John Goodwin at john.goodwin@pam.org.

PORTLAND ART MUSEUM 27

CONSIDER MAKING A LEGACY GIFT TO THE PORTLAND ART MUSEUM Interested in helping the Portland Art Museum but feel overwhelmed by the thought of writing another check or giving up your assets today?

A simple, flexible, and versatile way to ensure we can continue our work for years to come is a gift in your will or living trust. Including a gift of any size to the Portland Art Museum in your estate plan will help ensure that future generations of Oregonians will have access to an ever-improving and evolving art museum.

Throughout the history of the Portland Art Museum, planned gifts have played a pivotal role in our ability to fulfill our mission. In 1937, Ella Hirsch left a transformative gift in tribute to her parents, Solomon and Josephine Hirsch, which helped to sustain and grow the Museum during the height of the Great Depression.

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When you include the Museum in your will, trust, or planned giving vehicle, you become a valued member of the Ella Hirsch Legacy Society. The society honors donors like Ella Hirsch, whose legacies are established through their charitable giving. Membership in the Ella Hirsch Legacy Society is open to individuals who provide one or more of the following:

IF YOU HAVE ANY QUESTIONS, PLEASE CONTACT

• Inclusion of the provision of the Museum in personal estate plans.

Portland Art Museum | 1219 SW Park Avenue, Portland, Oregon 97205

• Completing a life income arrangement in which the Portland Art Museum is named as a beneficiary.

Karie Burch, Director of Development at 503-276-4240 or karie.burch@pam.org portlandartmuseum.org/plannedgiving

• The establishment of a named endowment fund.

The Portland Art Museum is a 501(c)(3) taxexempt nonprofit organization incorporated in the State of Oregon. EIN: 93-0391604.

Thomas Moran (American, born England, 1837-1926), The Grand Canal, Venice, 1899, oil on canvas, 20 in x 30 in, museum purchase: Funds provided by Givens Bequest, 1999.1

PROGRAMS & ACTIVITIES

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Robert Lehman Foundation Speaker Series Thank you to the Robert Lehman Foundation for funding this special series of exhibition-related talks.

PARIS 1900: SPECTACLE AND CELEBRATION JUNE 9, 2 P.M. MARY WEAVER CHAPIN, PH.D., CURATOR OF PRINTS & DRAWINGS, PORTLAND ART MUSEUM

The 1900 International Exposition celebrated achievements in science, technology, the arts, and architecture. The fair brought more than 50 million visitors to the French capital and magnified Paris’ reputation as one of the most sophisticated cities of the dawning 20th century.

In this lecture, Curator Mary Weaver Chapin explores the Exposition as well as the arts, fashion, and nightlife that made Belle Époque Paris unique.

HOW TO BECOME A MASS-MEDIA STAR IN THE 19TH CENTURY: SARAH BERNHARDT AND THE BELLE ÉPOQUE JULY 7, 2 P.M. CAROL OCKMAN, PH.D., ROBERT STERLING CLARK PROFESSOR OF ART HISTORY, WILLIAMS COLLEGE

How did the daughter and niece of courtesans, a Jewish woman, an unwed mother purportedly promiscuous with both sexes, and an eventual amputee, come to be known as “the greatest actress of the Western world”? Charting her 60-year career, this talk focuses on Bernhardt’s remarkable talent for self-promotion at the dawn of mass culture, including her selfpresentation, her recourse to the artistic talents of Art Nouveau poster wizard Alphonse Mucha and celebrity photographer Félix Nadar, together with well-publicized eccentricities—a menagerie, an excursion in a hot air balloon, and a resident skeleton and coffin at home.

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THE BELLE ÉPOQUE THAT NEVER ENDS: PARIS 1900 AND ITS AFTERLIVES AUGUST 18, 2 P.M. VANESSA SCHWARTZ, PH.D., PROFESSOR OF HISTORY, ART HISTORY, AND CRITICAL STUDIES; DIRECTOR, VISUAL STUDIES RESEARCH INSTITUTE, UNIVERSITY OF SOUTHERN CALIFORNIA

This talk will consider not only how Paris became the capital of entertainment and the most visited city in the world in 1900, but also how visual culture from the period contributed to turning that experience into both a cliché and mythic moment that has repeated itself ever since. The presentation will especially focus on how and why artists such as ToulouseLautrec became household names and Hollywood’s endless homages to the can-can, the Moulin Rouge, and the Eiffel Tower.

EMPIRE AND MEMORY AT THE PORTLAND WORLD’S FAIR

The Portland World’s Fair: A 1905 Walking Tour JULY 20, 10 A.M. – 1 P.M.

During the summer of 1905, Portland hosted its own worldwide exposition. Its full official title was the Portland Lewis and Clark Centennial and American Pacific Exposition and Oriental Fair. This walking tour, a collaboration among the Portland Art Museum, Oregon Historical Society, and the newly opened Portland Chinatown Museum, will reflect on the fair and its complex histories, including its mythological representations of the far American West as a conquered land, and as a site for further expansion west into the Pacific and Asian markets. Guests will share a variety of perspectives on the Fair and how it was a turning point for many immigrant communities in Portland.

This walking tour will cover about 1.5 miles between the Portland Art Museum and the Portland Chinatown Museum with stops along the way. $20 per person. Space is limited and advance reservations required. More information on speakers and the itinerary will be available online.

SEPTEMBER 8, 2 P.M. LISA BLEE, PH.D., ASSOCIATE PROFESSOR OF HISTORY, WAKE FOREST UNIVERSITY

The 1905 Centenial Exposition in Portland commemorated the anniversary of Lewis and Clark’s expedition. It was intended to showcase arts and modern industry of the day, as well as incorporate Portland into national narratives of empire. Through artistic and educational displays including “living” exhibits of colonized people, Portland joined other European and American fairs in articulating a fantasy of the history and future of civilization. What should we make of this narrative?

NORTHWEST FILM CENTER

Belle Époque Cinema Series Any history of cinema must include a stop in early-20th-century Paris where notable figures like the Lumière brothers, Alice Guy-Blaché, and Georges Méliès established themselves as pioneers of filmmaking and audiences were among the first to experience this mysterious flickering light show. This series draws inspiration from the Paris 1900 exhibition to explore cinema made during the Belle Époque era, films about the era, and programs inspired by ideas that originated during the era. A full list of films and events is available on the Northwest Film Center website, nwfilm.org.

TOP RIGHT: Annie Pootoogook (Inuit, 1969 – 2016), A Portrait of Pitseolak, 2003 – 2004. pencil, crayon, and ink on paper, 26 x 20 inches. Edward J. Guarino Collection, Yonkers, New York; RIGHT: Thomas Askew, African-American girl, half-length portrait, with right hand to cheek, with illustrated book on table (1899 or 1900), part of W. E. B. Du Bois’ albums of photographs exhibited at the Paris Exposition Universelle in 1900, v. 3, no. 210. Library of Congress Prints and Photographs Division.

Partner Programs with Alliance Française VISITE DE PARIS 1900 JUNE 15, 1:30 P.M.

For those who want to work on your French language skills, Alliance Française educator and museum docent Elene Zedginidze leads a lively conversational tour of the Paris 1900 exhibition en français.

VOYAGE À PARIS 1900 CLASS JUNE 18 – JULY 16

In conjunction with Paris 1900, this class will explore the city of Paris through the lens of history, literature, visual arts, and culture. Each session will be led in French and facilitated by a different specialized Alliance Française educator.

CENTER FOR CONTEMPORARY NATIVE ART Akunnittinni: A Kinngait Family Portrait JUNE 23, 2 P.M. ANDREA R. HANLEY (NAVAJO), IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS, SANTA FE

Exhibition curator Andrea Hanley will join us to speak about the exhibition Akunnittinni: A Kinngait Family Portrait. She will discuss her curatorial process in bringing together the work of three Inuit women artists in visual conversation with each other as well as the cultural history of three generations in Kinngait, a remote Inuit community located in the Arctic region of northern Canada.

Location note: This is a five-week class meeting on consecutive Tuesdays from 10 a.m. to 12:15 p.m., beginning June 18. Four sessions will take place at the Alliance Française (1425 SW 20th Ave., Portland, OR 97201); one will be held in the Museum exhibition galleries.

The class fee is $170 for Museum members.

For more information or to register, please visit afportland.org or 503-223-8388.

MUSIC & HISTORY OF BELLE ÉPOQUE PARIS

COLOR LINE

By Any Means Necessary: Racial Justice and Representation in the Arts AUGUST 8, 6:30 P.M. LA TANYA S. AUTRY, PH.D. CANDIDATE, UNIVERSITY OF DELAWARE; GUND CURATORIAL FELLOW, MUSEUM OF CONTEMPORARY ART, CLEVELAND

From W.E.B. Du Bois’ “The American Negro Exhibit” to The Black Panther newspaper to the contemporary series of direct actions by the grassroots organization Decolonize This, La Tanya S. Autry will discuss a range of liberatory aims and modes that artists and organizers employ to spark institutional change in the visual arts and beyond. Through her intersectional, equity-centered approach, Autry also explores the limits and possibilities of museums in advancing racial justice.

AUGUST 1, 5:30 – 7 P.M.

Join Alliance Française educators Eric John Kaiser (music) and Emmanuel Laurin (history) for an evening of conversation on the music and history of Belle Époque Paris. This program will be led in English and held at the Portland Art Museum.

UNLESS OTHERWISE NOTED, ALL PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.

ACCESSIBILITY The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. Please email a request to access@pam.org at least two weeks in advance, or call 503-226-2811.

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ADDITIONAL PROGRAMS Piano. Push. Play.

Monster Drawing Rally V

KICKOFF EVENT

JULY 12, 5:30–9 P.M.

JUNE 28, 7 P.M.

NEW THIS YEAR

The Museum is proud to partner with Piano. Push. Play. for another summer of music and fun in our outdoor courtyard. Piano. Push. Play. will once again work with talented local artists and designers to paint and decorate 10 refurbished upright pianos that will be placed at sidewalk and park locations throughout Portland for the public to play in July and August. The outdoor piano season begins with a festive kickoff concert in the Museum courtyard featuring all 10 pianos and then will continue with performances on select Friday evenings. For a full schedule, visit pianopushplay.com/events.

JAPANESE PRINTS

Japanese Prints Abroad in Portland: The Mary Andrews Ladd Collection

MASTERWORKS | PORTLAND

GEORGES DE LA TOUR

JEANNIE KENMOTSU, PH.D., JAPAN

Style and Meaning Converge in Georges de La Tour’s The Magdalen with the Smoking Flame

FOUNDATION ASSISTANT CURATOR OF

SEPTEMBER 28, 2 P.M.

SEPTEMBER 5, 6 P.M.

JAPANESE ART, PORTLAND ART MUSEUM

Japanese woodblock prints were met with an enthusiastic audience abroad in the late-19th and early-20th centuries. In Europe and the United States, tens of thousands of prints were bought and sold, exhibitions and recordbreaking auctions staged, and a new passion kindled for private collectors. Most of what we know about early American print collecting has focused on the East Coast—donations that were the basis for the world-class museum collections in Boston, New York, and Chicago.

Less well known but just as significant was the donation of the Mary Andrews Ladd collection of Japanese prints to the Portland Art Museum in 1932. Drawing on the Museum’s archives, period records, and the collection itself, this lecture will explore this transformational gift of nearly 750 Edo-period (1603–1868) woodblock prints, and expand the story of early Japanese print collecting in the United States.

Co-sponsored by the Asian Art Council.

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LYNN ORR PH.D., EXECUTIVE DIRECTOR, THE HISTORY MUSEUM OF HOOD RIVER COUNTY

The most skilled pictorial artists capture our imagination by making stylistic choices perfectly attuned to the meaning of their images. With deftness of hand finely tuned to narrative intent, an artist can paint away the psychological space between his world and ours. Georges de La Tour’s incomparable The Magdalen with the Smoking Flame is an absorbing masterpiece that draws us into the delicious physicality of his painted realm.

Join 17th-century specialist Lynn Orr for a conversation about La Tour’s artistic essay on the Magdalen. Explore how he crafts, both visually and iconographically, the persona of the New Testament’s Mary of Magdala as sanctioned by the 17th-century Catholic Church.

YOUTH MINI-ROUND AT 5:30 P.M.

The Museum’s popular Monster Drawing Rally (MDR) returns for a fifth year of drawing under the summer stars! MDR is a drawing event and fundraiser featuring more than 75 Portlandbased artists. Part performance, part laboratory, part art bazaar, the Monster Drawing Rally is an incredible opportunity to watch some of your favorite Portland artists create original drawings from a blank page. This year the event begins at 5:30 p.m. in the Museum courtyard with a youth mini-round, followed at 6 p.m. by three onehour rounds that each feature approximately 25 different artists drawing simultaneously. As the drawings are completed, they are immediately made available for a flat price of $35 each. If more than one person wants to purchase a particular work, the winner will be determined by drawing straws. Proceeds support free school and youth programs at the Museum.

SUN, SHADOWS, STONE

Panel Discussion: The Photography of Terry Toedtemeier AUGUST 4, 2 P.M.

Celebrate the final day of Sun, Shadows, Stone with a discussion of Terry Toedtemeier’s significant contributions to the field of American landscape photography. Panelists will also consider Toedtemeier’s meaningful curatorial legacy that continues to influence the Museum’s photography collection and exhibition program.

Hagia Sophia: The Sounds of Byzantium SEPTEMBER 22, 6 P.M.

Is it possible to travel back in time to experience the sounds of 13th-century Constantinople in real time? Here is your opportunity to find out: a live concert experience in the virtual-reality acoustic of Byzantium’s iconic cathedral of Hagia Sophia. For nearly a decade, Portlandbased vocal ensemble Cappella Romana has collaborated with scholars and technologists at Stanford University to create this program.

With an over-11-second reverberation time, Hagia Sophia was for 1,000 years the largest enclosed space in the world. In the Museum’s Kridel Grand Ballroom, enjoy the Northwest premiere of this fascinating project that marries technology, architecture, and art and music history to create a can’t-miss immersive sound experience. It also marks Cappella Romana’s release of its new surround-sound recording called “Hagia Sophia: Icons of Sound.”

A pre-performance conversation with Brian Ferriso (Director, Portland Art Museum), Alexander Lingas (Music Director and Founder of Cappella Romana; Musicologist, CityUniversity of London), Bissera Pentcheva (Professor of Art History, Stanford University), and Elliot Canfield-Dafilou (Center for Computer Research in Music and Acoustics, Stanford University).

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, $16.99 seniors. Space is limited. Tickets available online or on site. Please note: no program in July.

RALPH PUGAY

YOONHEE CHOI

JUNE 20

AUGUST 15

Ralph Pugay holds an MFA in Contemporary Art Practice from Portland State University and is a residency graduate of the Skowhegan School of Painting and Sculpture in Maine. Pugay’s awards include a Betty Bowen Award from the Seattle Art Museum, Joan Mitchell Foundation Painters and Sculptors Award, Hallie Ford Artist Residency Fellowship, and an Oregon Arts Commission Fellowship.

Major solo exhibitions were held at Seattle Art Museum; Upfor Gallery Portland; Vox Populi, Philadelphia; and FAB Gallery, Richmond, Viginia. Pugay is currently the James DePreist Visiting Professor of Art at Portland State University.

Tickets are $35 for Members and seats are all general admission.

SQUIRRELS, TIGERS, AND TOWERING PEAKS

Educated as a city planner, architect, and artist, Yoonhee Choi creates work that explores the potential of unexpected materials to express both multiple scales of spatial experience and intimate, personal associations. In her projects, which range from tiny collages and drawings on paper to roomsize installations, she uses everyday materials in an improvisational manner to search for limits and possibilities, seeking to discover new compositional devices and structures.

Photograph by Sam Gehrke.

VAUGHN KIMMONS SEPTEMBER 19

Vaughn Kimmons, affectionately known as Brown Alice, is a multidisciplinary artist born and raised in Chicago. Through music and dance performance she celebrates Blackness as the cosmic source of sacred inspiration and gives voice to the connective power of shared human nuance. She is a vocalist and songwriter in Portland-based bands Brown Calculus and Tribe Mars. Photograph by Renee Lopez.

Style and Symbols in Korean Ink Painting SANGAH KIM, COWLES CURATORIAL FELLOW IN ASIAN ART, PORTLAND ART MUSEUM JULY 21, 2 P.M.

Sangah Kim explores the vibrant range of brushwork found in Korean ink painting and unpacks the meaning of popular motifs such as squirrels and grapevines or mountainous landscapes. Sponsored by the Asian Art Council.

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ONGOING PROGRAMS continued Baby Morning

Art & Conversation

FIRST THURSDAYS OF THE MONTH,

THIRD TUESDAY OF THE MONTH

10 A.M. – 12:30 P.M.

JUNE 18, JULY 16, AUGUST 20,

JUNE 6, NO SESSION ON JULY 4 DUE TO HOLIDAY, AUGUST 1, SEPTEMBER 5

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.

Midday Art Break SECOND WEDNESDAYS OF THE MONTH JUNE 12, JULY 10, AUGUST 14, SEPTEMBER 11 12:30 P.M.

Take a break from your workday and join a curator, museum educator, artist, or local scholar for a 45-minute talk in the galleries.

Please visit the Museum website to learn more about upcoming topics.

Space is limited. Advance tickets recommended.

Program departs from the Main Entrance Lobby.

SEPTEMBER 17

Join us once a month for coffee followed by a lecture or film screening. Coffee at 9:15 a.m. and lecture at 10:15 a.m., both in the Mark building. This is a free program and everyone is welcome. Please visit the Museum website to learn more about upcoming topics.

Art & Conversation is made possible through the Marguerite and Harry Kendall Education Fund.

Sharon L. Miller And Family Community Free Day THE GREEN LOOP SUNDAY PARKWAYS AUGUST 25, 10 A.M. – 5 P.M.

Join us for an afternoon of fun as the streets in front of the Museum and our outdoor courtyards become one of several activity hubs for a special Sunday Parkways route highlighting the possibilities of a future Green Loop—a bold new concept of the Portland Central City 2035 Plan that envisions a linear park that connects nearly a dozen districts on both sides of the Willamette River and numerous cultural spots. Hop on your bike to enjoy all or part of the car-free 8-mile loop and be sure to stop by the Museum for artmaking, music, and more!

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.

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PUBLIC TOURS Join museum docents for gallery tours and other experiences at various times throughout the week. Public tours depart from the Park Avenue entrance on the following days and times (except Friday-Sunday when tours depart from the Sculpture Court): 1 P.M. TUESDAY & 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 TOURS FOR VISITORS WHO ARE BLIND OR PARTIALLY SIGHTED Tours meet on the third Thursday of every month (except December and August), but now take place from 1:30 to 3 p.m. This gives us time to slow down and explore the work through detailed verbal description, tactile experiences, and dialogue.

To join our mailing list, or to RSVP for an upcoming tour, please call 503-276-4290 or email pdxmuseum@gmail.com.

Meditation Series FIRST AND THIRD THURSDAYS OF EVERY MONTH, 5:30 – 6:30 P.M. NO TOURS IN JULY

Meditate at the museum. You are welcome to attend all sessions or drop in as you like.

For more information, visit portlandartmuseum.org

GIFTS & GATHERINGS

PATRON SOCIETY MEMBERS The Portland Art Museum gratefully acknowledges the individuals and businesses of our Patron Society who make a significant impact on the Museum’s programs and essential operation. Find out more about the Patron Society, its unique member benefits, and how you can support the Museum by contacting Brianna Hobbs at 503-276-4312 or brianna.hobbs@pam.org (List as of March 31, 2019) •Trustee and At-Large members CHAIRMAN’S CIRCLE $25,000+

Berggruen Institute Ryan and Mary Finley• Janet H. Geary• Pat and Trudy Ritz• Loren J. Schlachet• Arlene Schnitzer• The Smidt Foundation• Mr. and Mrs. William A. Whitsell•• Anonymous DIRECTOR’S CIRCLE $10,000–$24,999

Linda and Scott Andrews• Sharon and Keith Barnes Peter and Missy Bechen• Mrs. Mary Cecilia Becker Deborah Bergman Daniel Bergsvik and Donald Hastler• Bryan Bickmore Mary and Donald Blair• Cheryl and John Bradley Richard Louis Brown• Mr. and Mrs. Roger Burpee• Ms. Jean McGuire Coleman Truman Collins Anne and James F. Crumpacker• Elizabeth and Kirk Day• Paul and Pamela DeBoni Penelope and Foster Devereux• Brian Ferriso and Amy Pellegrin Lana and Christian Finley• Ann Flowerree• Stephanie Fowler and Irving Levin• Katherine and Mark Frandsen• Alix and Tom Goodman• Mark and Christi Goodman•/ Downtown Development Group Mary Chomenko Hinckley and Gregory K. Hinckley Ronna and Eric Hoffman Fund of OCF

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Steven and Kasey Holwerda• Judy and Hank Hummelt• Mr. David J. Johnson Mr. and Mrs. Frederick D. Jubitz• Willa M. Kemp• Dr. Douglas and Selby Key• Heather Killough Wes and Nancy Lematta Fund of OCF• Mrs. Dorothy Lemelson Carol Schnitzer Lewis Fund of OCF Kathleen Lewis• Joanne Lilley Cyndy and Edward Maletis• David and Dolorosa Margulis/ Margulis Jewelers• Jay and Tonia Mason• McGeady Family Foundation• Laura S. Meier• Sarah Miller Meigs and Andrew Meigs Mark J. and Dr. Jennifer R. Miller• Rick and Erika Miller• Dorothy Piacentini Travers and Vasek Polak• Dee Poth• Michael and Wayne Roberts Quimby Richard and Marcy Schwartz Ms. Grace Serbu• Thomas and Megan Shipley• Angela and Rex Snow• Julie and Peter Stott• Hank Swigert Greg and Cathy Tibbles Jane and Lawrence Viehl Nani S. Warren• Mr. and Mrs. Robert Warren, Jr.• Mr. and Mrs. David Willmott• Jim and Susan Winkler• Judith Wyss Anonymous

LEADERSHIP CIRCLE $5,000–$9,999

Anthony and Martha Belluschi Mary Lee Boklund• Bryce Butler Cascadia Foundation Sue Horn-Caskey and Rick Caskey Cynthia and Stanley Cohan Ann and Mark Edlen John Emshwiller and Deborah Yaeger Matthew and Jasmin Felton• Matthew French• Suzanne Geary and Greg Doan• Mr. John Goodwin and Mr. Michael-Jay Robinson Leona and Patrick Green• Jean Irwin Hoffman Mrs. Salena Johnson Judy Carlson Kelley Nick and Patty Knapp Angela Summers and Sanjeev Lahoti Drs. Dolores and Fernando Leon Elizabeth Lilley• Diane Forsgren McCall Shawn and Albert Menashe• Jeanette and Bruce Morrison Yale Popowich, MD• Jennifer and Charles Putney David and Madie Richenstein Joseph Roby Richard and Mary Rosenberg Charitable Foundation Richard and Deanne Rubinstein Marilyn Rudin, M.D. and Richard Testut, Jr. April Sanderson• Robert and Bonnie Schlieman Lois T. Schnitzer Jordan D. Schnitzer Victoria Taylor Robert Trotman and William Hetzelson• Linda and Richard Ward Janet Williamson Anonymous GUARANTOR $3,000–$4,999

Jean and Ray Auel Stephen and Melissa Babson Anne Barbey Peter and Susan Belluschi Mrs. Mary Bishop Barbara and Robert Brady Marianne Buchwalter Kathryn Bunn James and Diane Burke Carol Ann and Kent Caveny Laura and Ron Croft James and Nancy Dalton Theo and Nancy Downes-Le Guin

Mr. and Mrs. Wayne R. Ericksen James FitzGerald and Karen Howe Katherine and James Gentry Mary and Gordon Hoffman The Holzman Foundation Ellen and James Hubbell Katherine and Gordon Keane Mr. and Mrs. Richard B. Keller Donna L. Larson Patrick Y.H. Lee Peter and Susie Lynn Stephen R. McCarthy and Lucinda Parker Ruben J. and Elizabeth Menashe Ms. Hester H. Nau Cynthia and Steven Pailet Geoff Peters and Lenka Jelinek Brenda J. Peterson Charles and Ruth Poindexter Bob and Marilyn Ridgley Joanne H. Senders Barbara and Steve Spence Ambassador Charles J. and Caroline H. Swindells Rena L. Tonkin Don and Linda Van Wart Christine and David Vernier Wendy Warren and Thomas Brown Jonathan and Pearl Yu Zephyr Charitable Foundation Kim Ziebell BENEFACTOR $2,000–$2,999

Roudi Akhavein Meredith and Robert Amon Dr. Lisa Andrus-Rivera Mrs. Joan L. Baldwin Jane and Spencer Beebe Karen Benson Pamela H. Berg Mr. and Mrs. Lawrence S. Black Maureen and John Bradley Buzz Braley Blake and Mark Bruun Andy and Nancy Bryant Bruce and Brenda Burns Eric and Robin Busch Barbara and Worth Caldwell Suzanne Carlbom John and Laura Cheney Molly and Tom Clarey Mike and Tracey Clark Molly Cliff-Hilts and David Hilts Brooks and Dorothy Cofield/ Cofield Law Office Jeffrey LJ. Thomas and Laura Cooper Ré Craig Cameron and Dick Davis George and Barbara Dechet Maria Declusin

J. Michael Deeney, M.D. Barbara Delano and John Wyckoff Mary and Spencer Dick Family Margueritte H. Drake Richard and Betty Duvall Carol Edelman Barry and Janet Edwards Ron and Ann Emmerson Francene and Stephen English Doris Ennis Lauren Eulau and Paul Schneider Alan L. Ford and Jayce Sampson Bill Foster Dr. William and Beverly Galen Andra Georges and Timothy Shepard Thomas and Elizabeth Gewecke Mrs. Barbara Giesy William Gilliland Karen and Harry Groth Mr. and Mrs. Jeff Grubb Luisa Adrianzen Guyer and Leigh Guyer Ms. Susan Halton Carl Halvorson Edward Hamilton and Linda Townsend Jamey Hampton and Ashley Roland Bob and Janis Harrison Gary and Janie Hibler Margaret and Roger Hinshaw Eric and Jan Hoffman Mrs. Gretchen Holce Janet Louvau Holt Joan and Fred Horstkotte Kimberly B. Cooper and Jon Jaqua Mr. Donald Jenkins David Jentz Brad Johnston and Julie C. Evans Jessie Jonas Dr. Sivia Kaye Nino and Melissa Kilgore-Marchetti Victor Kisch and Pamela D. Frasch Michael and Mary Klein Cheryl and Chick Kozloff Paul Labby Ross Laguzza Joan R. Lamb, Lamb Family Foundation Ms. Bonnie Laing-Malcolmson and Jack Woida Barbara and William Langley Helena and Milt Lankton Douglas Larson and Sarah Ryan Bonnie Laun Susan and Robert Leeb Ross M. Lienhart and Janeese Jackson Jerry Logan William and Connie Lovejoy Louise and Bruce Magun Rick and Tonya Mahler Elise and Jon Makler

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HANK WILLIS THOMAS RECEPTION 1. Robert Trotman, Karie Burch, and Alan Ford 2. Sara Krajewski, Hank Willis Thomas, and Julia Dolan 3. Jon and Christelle de Asis and Don Urquhart 4. Robyn Dillon, Hank Willis Thomas, Brittany Powers, and Darren Dillon 5. Dan Wieden and Priscilla Bernard Wieden 6. Kathleen Lewis with Hank Willis Thomas

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THE MAP IS NOT THE TERRITORY OPENING RECEPTION TOP LEFT, LEFT TO RIGHT: Annette Bellamy, Robert Rhee, Ryan Pierce, Mary Ann Peters, Jenny Irene Miller, Henry Tsang, Fernanda D’Agostino, and Charlene Vickers

Shawn and Lisa Mangum Richard K. Mann and Lisa B. Mann Linda and Ken Mantel M. James and Jennifer Mark Keith Martin Sandra and Robert Mattielli J.S. and Robin May Win McCormack Jim and Char McCreight Mike and Judy McCuddy Nancie S. McGraw Parker McNulty and Eileen McNulty Jo Ellen and Samuel Miller Mia Hall Miller and Mattew Miller Brad and Nancy Miller

Lucy Mitchem Mia Hervin Moore and Jon Moore Dee Corbin Moore and Thomas Jewett Moore Jeffrey Morgan Joyce and Dennis Muir Denise Mullen Ernest and Anne Munch Carolyn and Terry Murphy Judy Preble Murphy Tom and Chris Neilsen Mr. Dane Nelson Gareth and Lisa Nevitt John and Virginia Niemeyer Elizabeth C. Noyes Alex Payne and Nicole Brodeur

PATRON BUSINESS SOCIETY MEMBERS (List as of March 31, 2019) BUSINESS CHAIRMAN’S CIRCLE—$25,000+

Shorenstein Realty Services LP

BUSINESS DIRECTOR’S CIRCLE $10,000–$24,999

Hoffman Construction Company MTek Kiosk, Inc. Nike, Inc. NW Natural Portland Trail Blazers Provenance Hotels Wells Fargo Willamette Dental Group Winderlea Vineyard & Winery

EXHIBITION SERIES SPONSORS

Support 30 exhibitions a year at the Museum, enabling the allocation of resources to support a diversity of shows. (List as of March 31, 2019) PRESENTING SPONSORS

LEAD SPONSORS

William G. Gilmore Foundation The James F. and Marion L. Miller Foundation

Education Exhibitions Fund Supporters*

Meyer Memorial Trust

Mr. and Mrs. Robert W. Philip Jean G. Pierce Mr. and Mrs. Luke Pietrok David James Pollock David and Shirley Pollock Heidi Pozzo Patricia K. Prado Mr. and Mrs. Wallace Preble Lucy and Herb Pruzan Ron and Lee Ragen Suzanne L. Rague Bradley Rittenhouse and Leah Trefz Jean and Stephen Roth Dan Saltzman and Liz Burns Eugene and Mary Sayler Dina Schnitzer

Dori Schnitzer and Mark Brown Ms. Lani McGregor and Mr. Daniel Schwoerer Bonnie Serkin and Will Emery John and Linda Shelk Peter Shinbach Carol and Tom Shults Mr. David M. Staehely Bonnie Stern Pat and Larry Strausbaugh Eva Jefferson Swain Catherine Millar and Bob Sweeney Swigert Foundation William R. Swindells Charlie and Darci Swindells Kimberly Tardie

Christine Tarpey and Richard Yugler Dona and John Tarpey Marta and Ken Thrasher Cheryl Tonkin Consul General Kojiro Uchiyama and Mrs. Uchiyama Barbara and Bastian Wagner Wendy Wells Jackson Elaine M. Whiteley Jo Whitsell Alice and Wim Wiewel Sabine Artaud Wild Virginia Wright Tom and Cheryl Wyatt Anonymous

BUSINESS LEADERSHIP CIRCLE $5,000–$9,999

BUSINESS BENEFACTOR $2,000–$2,999

Christie’s Davis Wright Tremaine Nordstrom The Canopy by Hilton The Standard

Ad-Mail, Inc. Allen Trust Company Cascade Manor Chubb Insurance City of Beaverton Columbia Private Banking D.A. Davidson & Co. Domaine Serene Elizabeth Leach Gallery Hennebery Eddy Architects, Inc. Hivemodern.com J. Scott Cellars Langley Investment Properties Lady Hill Winery Mario’s Markowitz Herbold PC Meyer Pro, Inc. Montinore Estate The Party Place PDX CONTEMPORARY ART

Phillips PLANAR Precision Door Service Rogers Machinery Company, Inc. Room & Board SakéOne ShedRain Corporation Showers Pass Sylvan Chiropractic Clinic and Wellness Center Chef Naoko Tamura Ultimate Airstreams Vernier Software & Technology VTECH Communications, Inc. Wildwood & Company

BUSINESS GUARANTOR $3,000–$4,999

A to Z Wineworks Art of Catering Artemis Foods Bonhams ChefStable Catering Devil’s Food Catering Elephants Delicatessen Food In Bloom Lane Powell PC Pearl Catering LLC Portland Business Alliance Vibrant Table Catering and Events Inc.

MAJOR SPONSORS

Maribeth Collins Exhibition Endowment Fund Gospel of Thomas LLC Pat and Trudy Ritz The Harold & Arlene Schnitzer CARE Foundation Arlene Schnitzer/Jordan Schnitzer The Smidt Foundation SPONSORS

The Sharon and Keith Barnes Endowment Fund Mary C. Becker Patricia Johnson and Michael Davidson/The Robert and Mercedes Eichholz Foundation Flowerree Foundation

Alix and Tom Goodman Selby and Doug Key* NetX Digital Asset Management Nordstrom* U.S. Bank Foundation* Reser Family Foundation* Wells Fargo Foundation* Judith Wyss Oregon Cultural Trust Oregon Arts Commission Regional Arts and Culture Council

IN-KIND SPONSORS

Allen Trust Company PLANAR NW Natural MTek Kiosk, Inc. *In support of the Education Exhibition Series

EDUCATION EXHIBITIONS FUND SUPPORTERS We are grateful to the many businesses and individuals whose support ensures that the Museum will continue to serve as a vital educational and cultural resource for generations to come. Together, we raised more than $120,000 for education and public programming, thanks to a generous match from the William G. Gilmore Foundation. The following list includes all gifts over $25 to the Education Exhibitions Fund, received between July 1, 2018, and March 31, 2019.

To donate to the Education Exhibitions Fund, visit pam.to/givenow.

Ken Austin / A-dec, Inc. Joyce Allmon Linda and Eugene Appel Michael and Jane Baird Philip and Nina Barr James and Catherine Basler Isobel Bauch Bettye Lou Bennett Sandra and William Bennett Richard Born Kirsten Boyum Breslauer, Rutman & Anderson LLC Kristine and Rex Breunsbach

Heather Brown Stuart Brown Robert and Jane Buchanan Scott and Glenda Burns Elizabeth Carnes Cynthia Chase and Joseph Albert Julia and Jim Coari Marjan Coester Mr. Jeffrey G. Condit Mike and Denise Cooney Byron and Anne Courts Dianna F. Crossley James and Jean Curran

EDUCATION AND ACCESS SPONSORS

Support exhibition programming, public and family programs, teacher and educator programs, school tours, and access programs supporting free and reduced admission prices. (Gifts of $5,000+ and endowments.)

(List as of March 31, 2019)

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Betty Curtis and Deborah Thomas Nichols M. Cutting and Katherine Bremser Joseph and Carol Davids Richard and Laila De Martini Frederic and Nancy Delbrueck Ms. Janet D. Dorow Nathan and Eva Douthit Scott Duff and Judith Hedberg-Duff Kent Duffy and Martha Murray Louise Eagle Norman Elkins and Catherine Leary Barbara and Thomas Ellicott Eileen Elliot David Ereth Linda and Davis Fisher Flowerree Foundation Marybeth Fossati Dana Fox and Alice Fox Joann and Ed Frankel Marc Franklin and Mary Lou Moriarty Deborah Garvey and David Kiuss William G. Gilmore Foundation Paul Harris and James Griener Annemieke Halbrook Shirley A. Harkless Diana Harris and Gary Piercy Antoinette Hatfield William and Katherine Hawkins Paula Heimberg, MD Greg Hendrix and Alta Brady Calvin and Ruth Hennig Linda Rae Hickey Veronica and Jim Hiller Mary Chomenko Hinckley and Gregory K. Hinckley Brett and Susan Hockley

James Hutchinson and Cirita Leon-Hutchinson Kristina Johansson Jeffery and Colleen Johnson Robert and Kathleen Joy Barbara Kalil and Jackson Ramsey Selby and Doug Key Frederick and Belinda Kinyon Don Kirby Josephine Z. Klevit Koe Family Fund Kurt and Eleanor Krause Deborah Garvey and Sia Kruss Becky Kuhn and James Gorter Ms. Marla Lohr-Flanders Penelope Luening Jane Maland and Kyle Napoli Linda and Ken Mantel Kathleen and Clark Marquart Jerry L. Martin Susan and Fred Matthies Susan J. McAnulty Diane Forsgren McCall Michael and Maryellen McCulloch Kevin and Maureen McGovern Michael and Carol Miller Ms. Barbara J. Millikan Robert and Barbara Mixon Priscilla J. Morehouse Jeanette and Bruce Morrison Duane and Lana Nelson George and Reba O’Leary Amanda Olesen Michael Ossar and Gretchen Holden Marc Pavillard and Sandra Menashe Anita and Eriks Peterson Hollie and Bear Pitts

Candace Primack Robert Andersen and Rocio Proano Tangela Purdom and David R. Roth Gopalan Raman William and Anne Rasnake The Renaissance Foundation / Stephanie Fowler and Irving Levin Eric and Kay Riedl Melvyn and Margery Rieff Phyllis and Bruce Ritchie Barry and Carol Ann Rogge Ms. Laurie Rubin Brigitte S. Kolloch-Russell and Andy Russell Vincenza Scarpaci and Peter Rodda Rosamonde Schurr Gary Shaw and Mildred Benhard Carolyn and Bob Simmons Rhea and Jim Sleeman Stephanie Snyder and Colleen Gotze Lindsay and Corinne Stewart William R. Swindells Nancy and Ray Tanner The Gordon D. Sondland and Katherine J. Durant Foundation Ms. Jade Tsefalas Mary Ulmschneider Mary VanHorton Luz Villalba and Simon Menasche Steven and Constance Vorenkamp W.L.S. Spencer Foundation Wells Fargo Foundation Juliet and Richard Williams Julie R. Wilson David and Susan Wisdom Jonathan and Pearl Yu David and Sherri Zava Anonymous

Ken and Joan Austin Education Outreach Fund Bank of America Foundation William H. and Mary L. Bauman Foundation Fred W. Fields Fund of the OCF Institute of Museum and Library Services Marguerite and Harry Kendall Education Fund Selby and Doug Key KeyBank Foundation

Samuel H. Kress Foundation The Lamb Baldwin Foundation Mark Family Fund of the OCF Sharon L. Miller and Family Nordstrom Oregon Arts Commission Oregon Cultural Trust Pacific Power Foundation The PGE Foundation The Renaissance Foundation / Stephanie Fowler and Irving Levin

Reser Family Foundation Mildred and Morris Schnitzer Charitable Fund of the OCF Gordon D. Sondland and Katherine J. Durant Foundation Lindsay and Corinne Stewart U.S. Bank Foundation Wells Fargo Foundation OCF Joseph E. Weston Public Foundation

PORTLAND INTERNATIONAL FILM FESTIVAL OPENING RECEPTION

THE HEART OF PORTLAND A Portland Public Schools K–12 Arts Showcase

GIFTS OF NOTE The Portland Art Museum and Northwest Film Center are grateful to the many businesses and individuals whose support allows us to remain an important cultural resource in the community now and for future generations. The following list includes all nonmembership gifts over $500, received between December 1, 2018, and March 31, 2019. *Deceased A to Z Wineworks Mujtaba Ali The Annex Galleries Armstrong Fine Art Art of Japan Media Asian Art Council of the Portland Art Museum Augen Gallery Ken Austin / A-dec, Inc. Azuma Gallery Amjad and Helen Bangash Bank of America / Bank of America Foundation Mr. and Mrs. Roland Banks Sharon and Keith Barnes Missy and Peter Bechen Gerald Belmore Martha Bergman Deborah Bergman Daniel Bergsvik and Donald Hastler Bessemer Trust Mary and Donald Blair Richard Born Breslauer, Rutman & Anderson LLC Kristine and Rex Breunsbach Rosalie and Bruce Broding William P. Carl Fine Prints Sue Horn-Caskey and Rick Caskey Ed Cauduro Fund of The Oregon Community Foundation Carol Ann and Kent Caveny Truman Collins Leslie Copland and Marc Cooper CJ Corey Dr. Jeri Janowsky and Dr. John C. Crabbe Ron and Laura Croft Crow’s Shadow Institute of the Arts

GIFTS OF ART Gifts received from December 1, 2018– March 31, 2019

Anne and James F. Crumpacker Eileen Culligan and Edward Kamholz Nichols Cutting and Katherine Bremser The Collins Foundation Courtney Dailey Davidson Galleries Elizabeth and Kirk Day Cooper DuBois and Sanda Stein Scott Duff and Judith HedbergDuff Egenolf Gallery Dave Emory European and American Art Council of the Portland Art Museum Evil Prints Sherman Fairchild Foundation Richard and Matti Feldman Matthew and Jasmin Felton Ryan and Mary Finley James FitzGerald and Karen Howe Ann Flowerree / Flowerree Foundation The Ford Family Foundation FRAME Framing Resource Katherine and Mark Frandsen Matt French S. Anthony Garvey and Jill M. Garvey Katherine and James Gentry William G. Gilmore Foundation Goldman Sachs Philanthropy Fund Alix and Tom Goodman Conrad R. Graeber Fine Art Graphic Arts Council of the Portland Art Museum

Amy Adams Eleanor and Dan Albert Steve and Lizzie Blatt Gordon Brodfeuhrer James D. Burke Tom Firman Jeffrey Fraenkel and Frish Brandt

Jamey Hampton and Ashley Roland Hampton Family Foundation of the Oregon Community Foundation Harmony Fund of the Oregon Community Foundation Henry Failing Fund Judy and Hank Hummelt Institute of Museum and Library Services Dr. Diane D. Jacobsen Donald J. Jenkins JEZ Foundation Mr. and Mrs. Frederick D. Jubitz / The Frederick D. and Gail Y. Jubitz Foundation Wolf Kahn and Emily Mason Foundation Dr. Sivia Kaye Irvin Kessler Dr. Douglas and Selby Key KeyBank / KeyBank Foundation kleinprint Koe Family Fund Stephanie Mengden Koon and Craig Koon Samuel H. Kress Foundation Ross Laguzza Betty Lavis and Charles Brasher The Lamb Baldwin Foundation Joan Lamb, Lamb Family Foundation Elizabeth Leach Gallery Robert Lehman Foundation Roy Lichtenstein Foundation Henry Luce Foundation Lisa and Shawn Mangum Ken and Linda Mantel Margulis Jewelers / David and Dolorosa Margulis M. James and Jennifer Mark Martinez Jay and Tonia Mason Fred and Susan Matthies Susan J. McAnulty Jim and Char McCreight Michael and Maryellen McCulloch Sarah Miller Meigs and Andrew Meigs Shawn Menashe Meyer Memorial Trust Donald Mickey and Stephanie Feeney The James F. and Marion L. Miller Foundation

Elinor Gollay Carol and Seymour Haber Collection Mia Hall and Matt Miller Margaret L.L.C. Jones Charlie and Amanda Kitchings Kristofor Lofgren in honor of Mary and Sarkes Tarzian

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.

Morel Ink Jeanette and Bruce Morrison The Mildred E. and Harvey S. Mudd Foundation JoAnn Pari-Mueller and Daniel R. Mueller The Arnold and Augusta Newman Foundation Nordstrom / Nordstrom Foundation Northwest Art Council of the Portland Art Museum Estate of W.H. Nunn Hilary and Sean O’Hollaren George and Reba O’Leary Oregon Arts Commission Oregon Community Foundation Pacific Power Foundation Travers Hill Polak and Vasek Polak Edward T. Pollack Fine Arts Dee Poth Rod Pulliam / Pulliam Gallery R.E. Lewis & Daughter Original Prints Christopher Rauschenberg and Janet Stein Regional Arts and Culture Council The Reser Family Foundation Phyllis and Bruce Ritchie Pat and Trudy Ritz The Harold & Arlene Schnitzer CARE Foundation / Arlene Schnitzer / Jordan D. Schnitzer Lois T. Schnitzer Mildred and Morris Schnitzer Charitable Fund of the Oregon Community Foundation Grace Serbu The Smidt Foundation Stephanie Snyder and Colleen Gotze The Gordon D. Sondland and Katherine J. Durant Foundation The Caryll M. and Norman F. Sprague Foundation The Standard Stevens Fine Art, LLC Stoney Road Press William R. Swindells Ambassador Charles J. and Caroline H. Swindells Tamarind Institute Wil Thornton Greg and Cathy Tibbles The Tolman Collection Robert Trotman and William Hetzelson

W.L.S. Spencer Foundation Nani S. Warren / The Swigert Warren Foundation Estate of David E. Wedge OCF Joseph E. Weston Public Foundation Karin and Barton Whalen Mr. and Mrs. William A. Whitsell Dan Wieden and Priscilla Bernard Wieden Winderlea Vineyard & Winery Jim and Susan Winkler Judith Wyss Jonathan and Pearl Yu Zidell Family Foundation Anonymous (5)

Veronica A. Macdonald Bequest from Mary and Pete Mark David Murphy Halsey and Alice North in honor of Maribeth Graybill Susan Seubert and Steven Josefsberg

Karl Simon and John Coutant: Gift to The Gayer-Anderson Collection of Ancient Scarabs and Seals

NORTHWEST FILM CENTER

ABI Insurance Alliance Française de Portland Linda and Scott Andrews Aputure Artists Repertory Theatre Mary and Donald Blair Consular Office of Japan in Portland Consulate General of Canada in Seattle Feynman Group Gearhead Grip & Electric Alix and Tom Goodman Henry Lea Hillman, Jr. Foundation Hong Kong Economic and Trade Office Institute for Judaic Studies Kevin Keithley Koerner Camera Systems Morel Ink MUBI USA Nordic Northwest Darleen Ortega and Stan Thornburg Philadelphia Insurance Companies Pro Photo Supply SAG-AFTRA Al Solheim State Farm Insurance Co Dr. and Mrs. Larry Strausbaugh The Lamb Baldwin Foundation Travel Portland TV5 USA, Inc. Anonymous

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

Museum Store Browse the eclectic selections and come see what is new and exciting for summer.

Members receive 10-percent discount.

Museum Grounds The Museum’s coffee shop now offers great local foods from Elephants Delicatessen and pastries from various local vendors, and is now featuring a Friday night Art Pub with beer, wine, and snack specials from 5 to 8 p.m.

Members receive 10-percent discount. @museumgrounds on Instagram.

Rental Sales Gallery Did you know that Museum members can rent original works of art? Located just behind the museum at 10th and Jefferson, the RSG features 1,500 pieces created by 250 regional artists. Pop over for a visit and see what’s new on the wall.

RENTAL SALES GALLERY View works of art for rent or purchase by Oregon and Washington artists in various mediums.

The gallery is open 10 a.m. to 5 p.m. Tuesday through Saturday and noon to 4 p.m. on Sunday. The Rental Sales Gallery is located behind the Museum at 1237 SW 10th Ave. Save the date for the PAM Staff Art Show opening August 17. The opening reception will be held August 17, 6-8 p.m., at the Rental Sales Gallery.

MUSEUM STORE Come see our large selection of beautiful embroidered and beaded pins, handcrafted in India with meticulous detail and fabulous colors.

Learn more at rentalsalesgallery.com.

Artful Venues Planning a special event? Bring your vision to life by booking our unique venue spaces! All proceeds help fund the Museum’s education and exhibition programs. Discounts for nonprofits and off-season prices available.

Sunflower Asterope Orange Butterfly

$46.75 | $42.08 members

$49 | $44.10 members

Visit events.portlandartmuseum.org.

Find us on social media @artfulvenues.

Flying Moth $55.75 | $50.18 members 44 PORTLAND ART MUSEUM

TOP: Michael Satern, First Amendment: Freedom of Speech.

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

ADMISSION

NOT FRAGILE Through June 9, 2019 SUN, SHADOWS, STONE: THE PHOTOGRAPHY OF TERRY TOEDTEMEIER Through August 4, 2019 APEX: STEVEN YOUNG LEE Through August 11, 2019 ASSOCIATED AMERICAN ARTISTS: PRINTS FOR THE PEOPLE Through August 18, 2019

EXHIBITION SCHEDULE Opening PARIS 1900: CITY OF ENTERTAINMENT June 8 – September 8, 2019 AKUNNITTINNI: A KINNGAIT FAMILY PORTRAIT June 22, 2019 – January 5, 2020 SQUIRRELS, TIGERS, AND TOWERING PEAKS: KOREAN PAINTINGS FROM THE MARY AND CHENEY COWLES COLLECTION July 6 – October 27, 2019 HANK WILLIS THOMAS: ALL THINGS BEING EQUAL… October 12, 2019 – January 12, 2020

MICKALENE THOMAS: DO I LOOK LIKE A LADY? (COMEDIANS AND SINGERS) Through August 31, 2019 PICTURING OREGON Through October 2019 JENNIFER ALLORA & GUILLERMO CALZADILLA: THE BELL, THE DIGGER, AND THE TROPICAL PHARMACY, 2014 Through September 21 DRAMATIC IMPRESSIONS JAPANESE ACTOR PRINTS Through October 13, 2019 MASTERWORKS | PORTLAND: GEORGES DE LA TOUR Through October 13, 2019

CONTACTS General Information Membership Information

503-226-2811 503-276-4249

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.

Blue Star Museum Free admission to active-duty military and their families, Memorial Day through Labor Day.

Miller Family Community Free Day August 25, 10 a.m. – 5 p.m.

Support for free admission is made possible thanks to the Gordon D. Sondland and Katherine J. Durant Foundation, Sharon L. Miller and Family, and the Lamb Baldwin Foundation. Help us provide additional free opportunities by supporting the Museum’s Art Access Endowment.

Visit portlandartmuseum.org/admission-access-programs

1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG

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Paris 1900: Spectacle and Celebration 2 p.m.

Highlights of the Collection 3 p.m.

Meditation 5:30 p.m.

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Glass in the Galleries 12:30 p.m.

Photography 1 p.m.

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Slow Looking 6 p.m.

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Paris 1900 3 p.m.

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Art and Activism 12:30 p.m.

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9:15 a.m.–11:30 a.m.

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Paris 1900 12:30 p.m.

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Akunnittinni: A Kinngait Family Portrait 2 p.m.

Paris 1900 3 p.m.

ARTIST TALK

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CCNA: Akunnittinni

Picture This: 1:30 p.m.

Ralph Pugay 6 p.m.

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PIANO. PUSH. PLAY. KICKOFF EVENT

Highlights of the Collection 3 p.m.

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5:30 p.m.

7 p.m.

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PARIS 1900 GALA

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The Art and Times of La Belle Époque 12:30 p.m.

Sarah Bernhardt and the Belle Époque 2 p.m.

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5:30–9 p.m.

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Paris 1900 3 p.m.

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Women in Art 12:30 p.m.

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How to Become a Mass Media Star in the Nineteenth Century: 2 p.m.

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Modern and Contemporary Art 1 p.m.

12 RENTAL SALES GAVLLERY

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Picture This 1:30 p.m.

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Style and Symbols in Korean Ink Painting 2 p.m.

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10 a.m.–1 p.m.

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Asian Art 1 p.m.

Paris 1900 12:30 p.m.

THE PORTLAND WORLD’S FAIR: A 1905 WALKING TOUR

5:30–8 p.m.

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Water in Art: 12:30 p.m.

PANEL DISCUSSION

Meditation: 5:30 p.m.

Sun, Shadows, Stone: 2 p.m.

MUSIC & HISTORY OF BELLE ÉPOQUE PARIS

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Highlights of the Collection 1 p.m.

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Slow Looking 6 p.m.

By Any Means Necessary: Racial Justice and Representation in the Arts 6:30 p.m.

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Opening Reception 5–8 p.m.

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The Belle Époque that Never Ends: Paris 1900 and its Afterlives: 2 p.m.

Works on Paper 3 p.m.

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Paris 1900 3 p.m.

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SHARON L. MILLER AND FAMILY COMMUNITY FREE DAY

Staff Art Show

10 a.m.–5 p.m.

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NEW MEMBER TOUR

Asian Art 1 p.m.

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Asian Art 12:30 p.m.

Yoonhee Choi 6 p.m.

PHOTOGRAPHY BROWN BAG TALK

Asian Art 3 p.m.

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I Spy 12:30 p.m.

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Staff Art Show

Meditation 5:30 p.m.

Masterworks | Portland: Georges de La Tour Reception 6 p.m.

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Paris 1900: 3 p.m.

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Every Portrait Tells a Story 10 a.m.–noon

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Paris 1900

Seeing Science in Art 12:30 p.m.

FAMILY TOUR

European Art 3 p.m.

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Paris 1900: 1 p.m.

Water in Art: 12:30 p.m.

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Empire and Memory at the Portland World’s Fair: 2 p.m.

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Slow Looking 6 p.m.

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Animals in Art 12:30 p.m.

Highlights of the Collection 3 p.m.

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23/30

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Modern and Contemporary Art 1 p.m.

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Animals in Art 12:30 p.m.

ARTIST TALK

Vaughn Kimmons 6 p.m.

Paris 1900: 3 p.m.

FAMILY TOUR

Seeing Science in Art 12:30 p.m.

Meditation: 5:30 p.m.

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Slow Looking 6 p.m.

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PHOTOGRAPHY BROWN BAG TALK

9:15 a.m.–11:30 a.m.

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Japanese Prints Abroad in Portland - 6 p.m.

Style and Meaning Converge in Georges de La Tour’s Magdalen 2 p.m.

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1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430

HANK WILLIS THOMAS: All Things Being Equal…

OCTOBER 12, 2019 – JANUARY 12, 2020

Hank Willis Thomas (American, born 1976), Branded Head, 2003, from the series Branded, chromogenic print, courtesy the artist and Jack Shainman Gallery, New York, © Hank Willis Thomas