Portal, Summer 2023

SUMMER 2023

guillermo del toro: crafting pinocchio

black artists of oregon cinema unbound awards

3 MARK ROTHKO PAVILION

9 EXHIBITIONS & INSTALLATIONS

Guillermo del Toro: Crafting Pinocchio

Black Artists of Oregon

Throughlines: Connections in the Collection

Nature Vive: Paul Missal untitled (Plaid Pantry): Paintings by David Rosenak

Continuing Exhibitions: Hito Steyerl: This is the Future

Upcoming Exhibitions: Africa Fashion

21 NEWS & NOTEWORTHY

Curator Intisar Abioto on Black Artists of Oregon

Conductions: Black Imaginings spotlights Black artistic practices in Museum space

Art Bridges Cohort Project aims to expand art access across Oregon

Celebrating Native American artists and bringing community together

Life Trustee honors for Fred Jubitz and Pat Ritz

PORTAL, VOL. 12, ISSUE 2

29 PAM CUT

Cinema Unbound Awards

Animationtastic 2023

Meet our Artist Instructors!

33 MEMBERS & PATRONS

37 GIFTS & GATHERINGS

Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-276-4249. For general information call 503-226-2811.

The mission of the Portland Art Museum is to engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations.

The Portland Art Museum recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah, and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.

COVER AND TOP: Guillermo del Toro on the set of Guillermo del Toro’s Pinocchio 2022. Image courtesy Jason Schmidt/Netflix; MIDDLE: Carrie Mae Weems, Untitled (Woman with daughter) from the Kitchen Table Series 1990, gelatin silver prints, Gift of the Contemporary Art Council, © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York., 94.19a-c; BOTTOM: David Rosenak, Untitled 2004, oil on wood, Gift of an Anonymous Donor, © David Rosenak, 2006.63.

FROM THE DIRECTOR

Dear Members,

The past six months at the Portland Art Museum have been a time for celebrating the power of art to expand our horizons, community connection, curatorial scholarship, and change. I am so proud of the work we are doing to bring important exhibitions by a diverse range of artists to our audiences.

From honoring Oscar Howe’s legacy to creating new work with Jeffrey Gibson, introducing the thought-provoking work of Hito Steyerl, featuring a masterwork by Botticelli, and exhibiting over 150 years of Japanese landscape prints, the opportunities to engage with art as a catalyst for conversation and reflection is central to our mission.

I am thrilled to be bringing Guillermo del Toro: Crafting Pinocchio to Portland. This exhibition features the Oscar-winning work of the local artists and craftspeople at ShadowMachine, a Portland-based animation studio. While Guillermo del Toro: Crafting Pinocchio made its debut at MoMA in New York, it’s incredibly gratifying to celebrate this renowned movie maker and the animation artists in their hometown where we can offer access and create connections within our creative community. I want to thank Amy Dotson, Director of our PAM CUT // Center for an Untold Tomorrow, for her enthusiasm and advocacy for this exhibition.

Construction of our new loading dock continues as we prepare to begin work on the transformative Mark Rothko Pavilion later this fall. Our curators have been collaborating with our Learning and Community Partnership team and many community partners to offer unique art-viewing experiences, rising to the challenges of gallery closures and other changes. You can read more about that work in these pages. Your support now is essential as we look forward to an improved future campus.

Sincerely,

Brian J. Ferriso Director and Chief Curator

Guillermo del Toro on the set of Guillermo del Toro’s Pinocchio (2022), a masterpiece of stop-motion animation that Museum visitors can explore in this summer’s special exhibition Guillermo del Toro: Crafting Pinocchio. Image courtesy Jason Schmidt / Netflix.

MARK ROTHKO PAVILION Designed for Connection

Nearly 13 years in the making, what started as a vision of simply creating an above-ground connection between the Portland Art Museum’s campus buildings has evolved into the Mark Rothko Pavilion Project and a design that is expansive, inspired, functional, and accessible. The design team of Vinci Hamp Architects and Hennebery Eddy Architects, along with landscape architects, lighting designers, and more, have created a new vision for our campus that is designed for connection.

Honoring History

Our current campus buildings and additions were built or renovated across many decades, but the 1932 Main Building designed by Pietro Belluschi has endured as an architectural gem. It is on the national historic registry and has always been a bright spot on the South Park Blocks. The Mark Building housing the Jubitz Center for Modern and Contemporary Art is a renovated 1927 Masonic Temple designed by Frederick Fritsch, historically significant in its own right.

When envisioning how a new central pavilion could connect the Main Building and the Mark Building, the design team paid close attention to how it would both fit in and stand out while functioning well for the many users of the space. They took cues from the long, linear sight lines and were inspired by geometric proportions in Belluschi’s original building. Additionally, the new material palette is intended to preserve and enhance the visual identity of the existing historic structures.

all visitors will benefit from.

The Pavilion becomes the new central entrance, with accessible entries from both the east and west sides. The east entrance on Park Avenue features a generous ramp alongside a modest set of stairs, while the new west-side entry removes barriers and offers entry through a new flat-grade West Plaza. Both entries utilize granite pavers that extend to the sidewalk to signal arrival to the entry area and function as a tactile wayfinding tool both outside and inside of the Museum. The new horizontal circulation patterns will be consistent among floors and include auditory and tactile directional cues for wayfinding.

the Museum in brand new ways.

Inside the Pavilion, two new passenger elevators will make wayfinding and direct access to all four floors immeasurably better than what currently exists. Push-button door openers, flexible-use furniture, sloped floors in place of stairs, and thoughtfully placed handrails are all examples of what visitors can expect. New allgender restrooms located in central locations on all four floors will have floor-to-ceiling, singlestall design; family-sized stalls; and changing stations that can accommodate caregiving for people of all ages and sizes.

both largely opaque, with minimal street-level windows, and constructed with brick and heavy materials. The new highly transparent Mark Rotho Pavilion adds much-needed visual permeability. The new West Plaza seamlessly flows from the sidewalk to the first-floor Swigert Warren Community Commons, while the Jubitz Terrace and Sky Deck allow the museum experience to flow between indoor and outdoor spaces. Purposeful and beautiful lighting design will create new experiences and promote safety during low-light times.

been designed with the highest levels of environmental considerations and energy efficiency. The glass walls of the Mark Rothko Pavilion are custom fritted glass, which means there is a subtle vertical striping pattern embedded in the glass, and also coated with a special material that helps to moderate temperature. These glass treatments also meet the standard for bird-safe design, and automated roller shades will further mitigate glare and heat.

by nearly 75%, and radiant floor heating will improve visitor comfort and energy efficiency. New restrooms will feature ultra-low-flow toilets to reduce water use by 20%, and new irrigation systems with efficient watering mechanisms will further enhance water conservation. Careful salvage of the existing masonry around the new loading dock area will be used to reconstruct the low garden wall along Southwest Jefferson Street.

Learn more about the Mark Rothko Pavilion Project and view design renderings at portlandartmuseum.org/connections.

ABOUT THE ARCHITECTS

The design of the Mark Rothko Pavilion expansion and renovation of the Museum campus project was achieved through a design collaboration between two highly regarded architecture firms: Portland-based Hennebery Eddy Architects with Vinci Hamp Architects of Chicago. Together, they have worked with the Museum to bring the vision to life.

had previous knowledge of the Portland Art Museum through their work on exhibition design for Queen Nefertari’s Egypt (2021), Italian Style: Fashion Since 1945 (2015), and The Body Beautiful in Ancient Greece (2012), among others.

“The goal to unify Pietro Belluschi’s buildings and Frederick Fritsch’s Masonic Temple

“Leading the design team for the Mark Rothko Pavilion and renovation of the Museum has been a great privilege for our firm and for me personally,” said Timothy Eddy, FAIA, President, Hennebery Eddy Architects. “Our team has worked to reimagine the entire Museum campus in a way that will inspire and foster inclusivity throughout the Portland community well into the future.”

Vinci Hamp Architects, known for its awardwinning work with museums and historic preservation, counts the Art Institute of Chicago, the Milwaukee Art Museum, the Illinois State Capitol, Chicago Tribune Tower, and Frank Lloyd Wright’s Home and Studio among its roster of clients. Vinci Hamp was selected because of their architects’ understanding of how museums need to function for a wide range of users. They also

with a new link, the Mark Rothko Pavilion, has been an exciting challenge for us,” said Philip Hamp, FAIA, LEED AP BD+C, Principal, Vinci Hamp Architects. “It combines great Portland landmarks, exacting museum design, and historic preservation in one comprehensive project, with the bonus of working once more with Director Brian Ferriso and the talented PAM staff.”

Portland-based Hennebery Eddy Architects’ extensive involvement with urban design and the physical context of downtown Portland, along with its commitment to historic preservation and universal design, is manifest throughout the design of the project. Hennebery Eddy’s portfolio includes large-scale civic and institutional projects, award-winning contemporary design work across the Pacific Northwest, and deep knowledge of Pietro Belluschi-designed work, including renovation and expansion of the Portland Federal Reserve building and the design for the Belluschi Architectural Resource Center at the Oregon Historical Society.

In addition to the building design, landscape architecture plays a vital role in how the new Rothko Pavilion functions. Walker Macy is a Portland-based landscape architecture, urban design, and planning firm whose experience includes the Japanese Garden expansion, Columbia River Maritime Museum, High Desert Museum, Oregon Coast Aquarium, Seattle Asian Art Museum, and Pioneer Courthouse Square, among many others. Consulting with Walker Macy is Andrea Cochran Landscape Architecture, who first designed the Museum’s outdoor sculpture mall.

TOP: Rothko Pavilion renderings courtesy of Hennebery Eddy Architects: TOP RIGHT: Mark Rothko wearing hat, © 2011 Kate Rothko Prizel and Christopher Rothko; BOTTOM RIGHT: Installation view from the Mark Rothko exhibition from 2012.

HONORING MARK ROTHKO’S PORTLAND LEGACY

the door to a first-of-its-kind partnership with the children of Mark Rothko, Christopher Rothko and Kate Rothko Prizel. The partnership includes the loan to the Museum of major paintings by Mark Rothko from their private collection. The paintings will be loaned individually in rotation over the course of the next two decades, and displayed in a specially designated space within the Museum’s galleries.

watercolors, developed into his now-signature style—multi-layered oil paintings with vertically aligned rectangular forms set within a colored field.

At the center of the Museum’s expansion and renovation project is the stunning threestory Mark Rothko Pavilion. The pavilion is named in recognition of painter Mark Rothko’s legacy in Portland—his home as a youth after immigrating from Latvia—and his connection to the Museum, where he took his first art classes and received his first solo exhibition.

The Mark Rothko Pavilion was made possible by two remarkable opportunities. The project’s lead donor asked to name the building for an artist instead of the donor; this in turn opened

Mark Rothko was born Marcus Rothkowitz in Dvinsk, Russia (today Daugavpils, Latvia), on September 25, 1903. Rothko and his family immigrated to the United States when he was 10 years old, and settled in Portland where he attended Shattuck Grade School and Lincoln High School.

Rothko attended Yale University in 1921 with an initial intention to become an engineer or attorney. After giving up his studies in 1923, he moved to New York City where he attended classes at the Art Students League. Rothko was given his first solo exhibition in 1933 here at the Portland Art Museum, followed a few months later by an exhibition at the Contemporary Arts Gallery in New York. His early work in landscapes, and later abstract compositions and

Physically ill and suffering from depression, Rothko took his own life on February 25, 1970. At the time of his death, he was widely recognized in Europe and America for his central role in the development of nonrepresentational art. Through his sustained commitment to this artistic vision, Rothko worked tirelessly to create paintings that could transport the viewers’ imaginations and transform their perspectives.

“Our family is thrilled to enter into this partnership with the Museum. Portland played a formative role in my father’s youth, and we are eager to share these works with the public and give Rothko a more active role in the vibrant cultural life of this city,” said Christopher Rothko, the artist’s son. “Our hope is that visitors will take the time to pause and engage with each of these paintings, and to participate in the process of ‘slow-looking’ that the Museum has championed.”

GETTING READY FOR THE MARK ROTHKO PAVILION

What’s Happening Now

Preparation for the Mark Rothko Pavilion continues as the new loading dock is being constructed on the south end of campus along Southwest Jefferson Street. This move not only makes way for the Pavilion but provides a safer and more efficient way to move art and exhibitions in and out of the Museum. Progress includes the careful removal of the brick garden wall followed by larger-scale excavation and the commencement of building the new loading dock. Visitors inside the Museum will notice galleries on the south end of the Main Building are closed. This is because of the vibrations of the machinery and increased encroachment into the Museum interior as construction progresses. Concurrent with the construction of the new loading dock, there is work throughout the Main Building to upgrade mechanical systems like sprinklers. Notably, this work will require a seven-week closure of Black Artists of Oregon (November 26, 2023 –January 17, 2024).

In August, preparations to begin work on the Mark Rothko Pavilion will be visible, with fencing going up in the courtyard and other work taking place.

How to Visit

The Museum will remain open to visitors throughout the project. We encourage members and visitors to refer to the website, subscribe to our email newsletter, and follow us on social media before visiting to ensure that you get the most out of your visit while construction is underway. Some galleries may be inaccessible during various phases of construction. We are committed to reducing the environmental impact of construction (filtering air and reducing noise, for example) and ensuring visitor and staff safety; our visitor services associates are always here to help.

Get Involved

Making this project a reality is a monumental undertaking, and we are so grateful to all of the donors and partners who have gotten us this far. Are you interested in learning more about the project and how you can be involved? Please contact campaign@pam.org.

pam.to/Connection-Campaign

GUILLERMO DEL TORO Crafting Pinocchio

JUNE 10 – SEPTEMBER 17, 2023

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion, and artistic cooperation that goes into making a cinematic vision come to life.

This eagerly awaited special exhibition showcases the collaborative art, craft, and storytelling of the film Guillermo del Toro’s Pinocchio, which has been acclaimed as a masterpiece since its release in late 2022, earning awards including the Academy Award for Best Animated Feature Film. Guillermo del Toro: Crafting Pinocchio immerses audiences in its world, featuring iconic creatures, set pieces, stop-motion animation technology, and fantastical visual and sound elements. At more than 8,000 square feet, the exhibition will guide audiences through the creation and collective artistry of del Toro’s work. Featuring the inspirations and inventiveness of the artists that helped bring the story to life, Guillermo del Toro: Crafting Pinocchio will celebrate how far imagination can push us into making our dreams a reality.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stopmotion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at ShadowMachine—a renowned stop-motion animation studio based here in Portland, Oregon, as our city is increasingly recognized as a creative hub of the artform.

About Guillermo del Toro’s Pinocchio

Now streaming on Netflix, Guillermo del Toro’s Pinocchio was 10 years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation. With voice talents from Tilda Swinton, Cate Blanchett, and Ewan McGregor and a soundtrack by Nick Cave and Alexandre Desplat, Guillermo del Toro’s Pinocchio has been given extraordinary critical praise. This exhibition comes to Portland Art Museum from The Museum of Modern Art (MoMA) in New York, where it was on view from December 2022 through April 2023.

Guillermo del Toro: Crafting Pinocchio is organized by The Museum of Modern Art. The exhibition is organized by Ron Magliozzi, Curator, and Brittany Shaw, former Curatorial Assistant, with Kyla Gordon, Research Assistant, Department of Film, The Museum of Modern Art. The Portland Art Museum’s expanded presentation is curated by Amy Dotson, Curator of Film and New Media and Director of PAM CUT // Center for an Untold Tomorrow.

Guillermo del Toro: Crafting Pinocchio is generously supported by presenting sponsors Grace Serbu and Ivan Gold, with additional support provided by. Ryan and Mary Finley, The Clark Foundation, Cooper DuBois, Ed Cauduro Fund of the Oregon Community Foundation, Netflix, Dan Wieden* and Priscilla Bernard Wieden, The Reserve Vineyards and Golf ClubThe Park Family, and Exhibition Series Sponsors.

Installation views of the exhibition “Guillermo del Toro: Crafting Pinocchio” at MoMA, December 11, 2022–April 15, 2023. IN2511.80, IN2511.49, IN2511.29. Photographs by Emile Askey.

Guillermo del Toro at Portland Art Museum

PRESENTED BY NETFLIX

Cinema Unbound Awards

JUNE 22

Guillermo del Toro will be honored at this year’s Cinema Unbound Awards on Thursday, June 22. The awards, which celebrate boundarybreaking multimedia storytellers working at the intersection of art and cinema, will award del Toro with the Creative Polymath honor as he continues to tell his myriad cinematic stories through multiple formats, mediums, and artforms. The Awards also act as PAM CUT’s annual fundraiser, with proceeds directly supporting the next generation of artists and storytellers. To learn more, see page 30.

Guillermo del Toro in conversation with Amy Dotson

JUNE 23, 5:30 – 7 P.M.

Guillermo del Toro will be in the Grand Ballroom, discussing his process and vision around Pinocchio and his unbound approach to cinematic storytelling in all of its forms.

PROGRAMS, SCREENINGS & CAMPS

Discovering del Toro

CHECK PORTLANDARTMUSEUM.ORG FOR DATES, TIMES, AND TICKETS.

WHITSELL AUDITORIUM

Featuring rarely seen early work including Doña Lupe and Geometría as well as 35mm prints of Cronos, Pan’s Labyrinth, and more, this weekend series will trace Guillermo del Toro’s journey from makeup artist to indie filmmaker to one of the most beloved directors, producers, writers, and creature creators of our time.

Pinocchio: Animation Art Days

JUNE 25

JULY 15

AUGUST 13

SEPTEMBER 10

Join us for a select day each month during the run of Pinocchio for a day of all things animation, from demonstrations, to storytelling, to tours and lectures. Get a peek into the artistic, animation, and storytelling process, as told by ShadowMachine animators and other Portland-based animators and scholars. All ages are welcome!

Animationtastic Youth Summer Camps

In addition to the exhibition itself, PAM CUT // Center for an Untold Tomorrow, the Museum’s film and new media arm, will enhance and deepen the experience of Guillermo del Toro: Crafting Pinocchio with an “Animationtastic” summer of youth programs and camps, including classes lead by working artists from the film and our robust PDX animation community.

For more information and to reserve your spot, go to pamcut.org.

MADE IN PORTLAND Behind the scenes with ShadowMachine

Guillermo del Toro’s Pinocchio was made through the collaboration of hundreds of artists right here in Portland at ShadowMachine animation studios.

ShadowMachine co-founder and 2020 Cinema Unbound Awards honoree Alex Bulkley shares more about who ShadowMachine is, the studio’s deep connection and commitment to Portland artists, and how they maintained connection, “outside-the-box creativity,” and innovation during a time of COVID to bring this storyworld to life.

Tell us about ShadowMachine—what is it and why is it important to have it here in Portland?

Alex Bulkley: ShadowMachine is an awardwinning animation studio that specializes in world-building and comedy-craft. The company’s 2015 expansion into the Pacific Northwest provided the unique opportunity to work within one of the most exciting and powerful animation communities on earth. Portland, Oregon, is home to some of the best stop-motion artists, animators, designers, and technicians working in the format today.

How did you become involved in Pinocchio?

In 2012, Lisa Henson from the Jim Henson Company introduced us to Guillermo del Toro. After a brief visit to our Los Angeles-based animation studio, the synergy with Guillermo was clear. His adaptation of Pinocchio was born through an amazing collaboration with The Jim Henson Company, ShadowMachine, and ultimately, Netflix.

What was it like to work with Guillermo and the team, especially during COVID?

Guillermo’s vision for Pinocchio attracted not only the great talents of Mark Gustafson, but the most incredible crew including worldrenowned puppet builder Georgina Hayns, the amazing cinematographer Frank Passingham, award-winning composer Alexandre Desplat, art director Rob DeSue, and production designers Guy Davis and Curt Enderle, amongst others.

It was an absolute dream team, which made the process of production that much more exciting and meaningful—it was artistic performance at its highest level. As directors, Guillermo and Mark required 100% from the crew 100% of the time, and the crew delivered. Guillermo is a master filmmaker, and given that this was his first time directing an animated film, his collaboration with Gustafson provided a critical balance in both story and execution.

What none of us could ever anticipate or had experienced before was the COVID-19 pandemic. Not only did we continue production despite this major disruption, but with the incredible support of Netflix and the sheer will of the crew, I believe the film came out stronger in spite of it.

This film is a testament to the fortitude, resilience, determination, out-of-the-box creativity, and great camaraderie that blossomed in the face of disaster. I’m not sure who to attribute this quote to, but it became a production mantra on this film and couldn’t be more true of our process: “Extracting beauty from adversity.”

BLACK ARTISTS OF OREGON

AUGUST 26, 2023 – MARCH 17, 2024

(CLOSED FOR ROTHKO PAVILION CONSTRUCTION NOVEMBER 26, 2023 –JANUARY 17, 2024)

This summer, the Portland Art Museum presents Black Artists of Oregon. This exhibition aims to highlight and celebrate the work of Black artists in Oregon over more than a century, exploring this history both through the lens of Black artists whose works are represented in the Museum’s collection as well as the works of influential artists who, historically, have not been exhibited or held

in museum collections. Considering both their presence and absence is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition will serve to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, the exhibition will capture the African American experience particular to the Pacific Northwest. Artists in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo art archive, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Black Artists of Oregon builds upon guest curator Intisar Abioto’s original research exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention will be given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 Black Lives Matter Movement protests.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says exhibition curator Intisar Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

LEFT: Photograph by Alda Jordan, Portland OR, 1945; RIGHT, TOP: Carrie Mae Weems, Untitled (Woman with daughter), from the Kitchen Table Series 1990, gelatin silver prints, Gift of the Contemporary Art Council, © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York., 94.19a-c ; RIGHT, BOTTOM: Arvie Smith (American, born 1938), Dem Golden Slippers 2007, oil on linen, Gift of Donna Hammar. Portland Art Museum, 2010.80; RIGHT: Harrison Branch (American, born 1947), Untitled Corvallis, Oregon, 1975, gelatin silver print, image: 7 5/16 in x 9 1/2 in; sheet: 13 1/2 in x 15 3/4 in, Gift of the Photography Council, © Artist or other rights holder, 2002.58.4

Black Artists of Oregon Podcast

The Museum continues its Community Partnerin-Residence relationship with The Numberz FM and their AUX/MUTE platform to amplify the work of Black artists and creatives. For Black Artists of Oregon, The Numberz FM and the Museum will partner to develop a podcast series. Interviews and conversations

will be recorded and published through The Numberz FM and PAM’s Art Unbound podcast leading up to the exhibition. Through music, visual arts, oral histories, and conversations, DJ Ambush, executive director of The Numberz FM, recognizes the connections of Black culture. “Our programming is a combination of

music and talk, and in both cases we’ve seized the opportunity to uplift Black and Brown voices that may have faced obstacles in the past to share their experiences with their own community,” said DJ Ambush. “Through our partnership with the Portland Art Museum, creatives of color are behind these doors making good on a promise we’ve made to the community. We’re cooking up and delivering LIBERATED BLACK MEDIA.”

Guest curated by artist Intisar Abioto.

Black Artists of Oregon is generously supported by the Institute of Museum and Library Services, Meyer Memorial Trust, Terra Foundation for American Art, The Ford Family Foundation, Ed Cauduro Fund of the Oregon Community Foundation, Oregon Heritage Commission, The Arlene and Harold Schnitzer Endowment for Northwest Art, and the Museum’s Artist Fund.

THROUGHLINES Connections in the Collection

OCTOBER 2023 – APRIL 2024

The Museum is changing, poised for exciting transformation and growth. To celebrate this moment of possibility, the Curatorial team, the Learning and Community Partnerships department, and PAM CUT colleagues are teaming up to present a collaboratively designed exhibition unlike any the Museum has presented before.

Throughlines: Connections in the Collection embraces wonder and curiosity as we explore the innovations of artists found across the Museum’s collection areas. From diverse geographies, cultures, and eras, artists have consistently created images, objects, and experiences that ask us to consider ourselves and the world around us from new perspectives. Visitors will encounter striking juxtapositions and playful groupings that place art from different collections into a wide-ranging exploration of how artists manipulate processes, materials, and forms to create compelling and meaningful artworks.

Accompanying the exhibition, programming with artists in residence, event-based experiences, and other moments of discovery expand the opportunities for visitors to engage with the joy and wonder of the artistic process. Here is a glimpse of what we have in the works.

LEFT CLOCKWISE: Marianne Loir (French, ca. 1715-after 1769), Portrait of a Man Seated at a Desk ca. 1750, oil on canvas, Museum Purchase: Funds provided by the Janet and Richard Geary Endowment for European Art. Portland Art Museum, Portland, Oregon; Kehinde Wiley (American, born 1977), Likunt Daniel Ailin (The World Stage: Israel), 2013, bronze, Museum Purchase: Funds provided by patrons of the 2014 New for the Wall. Portland Art Museum, Portland, Oregon; Andy Warhol (American, 1928-1987), Family Album 312 (detail), ca. 1970–1980, 278 dye diffusion prints, Gift of The Andy Warhol Foundation. Portland Art Museum, Portland, Oregon; Wendy Red Star (American and Apsa’alooke, born 1981). Stands To The Sun, from the series Thunder Up Above, 2011. Pigment print on Fine Art Pearl. Gift of Loren G. Lipson, M.D.

LEFT TOP CLOCKWISE: Claes Oldenburg (American, born Sweden, active United States, born 1929), Alphabet in the Form of a Good Humor Bar, 1970, color lithograph on paper, Gift of Mr. Ronald Shindler and Mr. Lowell Shindler. Portland Art Museum, Portland, Oregon; Korea, unknown artist (Korean), Phoenix-shaped Kkokdu for a Funerary Bier late 19th/early 20th century, wood with polychrome pigments, Gift of Virginia Nelson. Portland Art Museum, Portland, Oregon; Dinh Q. Lê (American, born Vietnam, born 1968), Buddhas and Angkor Temple, 1996, woven chromogenic prints and linen tape on board, The Carol and Seymour Haber Collection. Portland Art Museum, Portland, Oregon; Lynn Aldrich (American, born 1944), Biophilia, 2007, sponges, brushes, scrubbers, scouring pads, mop heads, plungers, plastic, plumbing parts, wood, Gift of Jereann Chaney. Portland Art Museum, Portland, Oregon.

NATURE VIVE Paul Missal

THROUGH JULY 30, 2023

NORTHWEST ART GALLERIES, THIRD FLOOR

Nature Vive is an intimate exhibition celebrating the masterful work of Paul Missal through the lens of his playful and symbolic still-life paintings and prints. This exhibition explores themes of decay to renewal, the cool tension of balanced dualities, and nature as guardian. The title of the show inverts the traditional term nature morte (literally, dead nature, or still-life) and instead celebrates his work as nature vive, or living still-life.

An artist for over 50 years, Missal was classically trained at the Cleveland Institute of Art and Yale University. Despite his love of the classical approach of painting, Missal includes modernist artists like Ellsworth Kelly (1923–2015) and Alberto Giacometti (1901–1966) as equally influential to his way of seeing the world through art.

In addition to his acclaim for his commanding art, Missal is recognized as an influential and lifelong educator in the Portland community.

UNTITLED (PLAID PANTRY)

Paintings by David Rosenak

THROUGH JULY 30, 2023

NORTHWEST ART GALLERIES, THIRD FLOOR

In a span of 25 years, David Rosenak (American, born 1957) has looked closely at the cityscape that defines the limited range between his work, home, and studio locations in the Buckman neighborhood of Southeast Portland. Though his work may be seen within the scope of limitations—the narrow physical range of places, as well as the grayscale palette he uses for all of his paintings—what Rosenak offers is the boundless ability to see even within these parameters.

Influenced by Persian and Indian miniature paintings, Rosenak offers us the magical realism of the everyday, including one’s own neighborhood through the speckled light from trees, the shimmer of rain-covered streets, a warm glow of light from a window at night, the dramatic shadows from buildings, and

the abundant sunlight cast upon homes. In untitled (Plaid Pantry), Rosenak examines commonplace marvels such as the neighborhood convenience store, inviting viewers to look more closely at what might be the most familiar of our surroundings.

Rosenak was featured in Portland Art Museum’s 2006 Oregon Biennial. With his meticulous approach to painting and slowed down further by Parkinson’s disease, Rosenak has dedicated his time to painting one to two paintings a year. As his right hand became less steady, Rosenak practiced painting with his left hand with equal consistency. Exemplifying his persistence and dedication to painting, Rosenak kept nearly the entire body of work all together and just last year gifted these paintings to the Portland Art Museum, allowing visitors to enjoy their full breadth and close study of a Portland neighborhood.

He taught at the Pacific Northwest College of Art for over 30 years, and, in 1979, co-founded the Blackfish Gallery, the oldest artist-run cooperative gallery in Portland.

Missal is celebrated for his exceptional portraits, landscapes, still-lifes, and symbolic representations. In this careful selection of drawings, prints, and paintings, Missal’s skillful touch, playful humor, and lifelong dedication to his art come vividly to life.

Curated by Grace Kook-Anderson, the Arlene and Harold Schnitzer Curator of Northwest Art and Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings. This exhibition is presented in honor of the late Museum Trustee Jim Winkler and includes several artworks from the collection of Jim and Susan Winkler. Support provided by The Arlene and Harold Schnitzer Endowment for Northwest Art and and donors to the Jim Winkler Memorial Fund.

LEFT: Paul Missal (American, born 1941), The Great Still Life, 1973, acrylic on canvas, Gift of the Artist, © Paul Missal, 2011.163; ABOVE: David Rosenak, Untitled 2004, oil on wood, Gift of an Anonymous Donor, © Artist or other rights holder, 2006.63; RIGHT: Hito Steyerl, Power Plants, courtesy of the Artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin, Photo by Mario Gallucci.

Curated by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art. This exhibition is supported by The Arlene and Harold Schnitzer Endowment for Northwest Art.

CONTINUING HITO STEYERL This is the Future

THROUGH JUNE 18, 2023

Just a few weeks remain to experience the U.S. premiere of This is the Future, by the filmmaker and writer Hito Steyerl. This exhibition explores a vibrant, imagined garden through an immersive environment of video projection, sculpture, and spatial intervention. Steyerl is one of the foremost artists offering critical reflections on the complexities of the digital world, global capitalism, and the implications of artificial intelligence (AI) for society, which is explored in this exhibition.

Throughout Steyerl’s career, the acclaimed German artist has interrogated the hidden connections between technology, political movements, and global capitalism, creating contemporary parables that shine a light on the invisible infrastructure established by digital forces such as data mining and artificial

intelligence (AI). Her works captivate viewers through her nods toward media spectacle and forms of popular entertainment. With its pulsing soundtrack, dazzling imagery, dark humor, and astute narrative, This is the Future explores the age-old human desire to predict the future and how AI neural networks promise to deliver it to us. Steyerl has described This is the Future as a positive look at our future, despite the impending climate crisis and its worsening impact on society. Steyerl imagines a time when plants take on “political characteristics or abilities that are able to heal the present…it is definitely a vision of nature that is more optimistic than the current allows….” This work proposes that AI could theoretically be used to create positive effects, something that seems unimaginable in today’s

world of Big Data. And the exhibition suggests an unexpected pathway toward a resilient future.

Hito Steyerl: This is the Future is curated by Sara Krajewski, The Robert and Mercedes Eichholz Senior Curator of Modern and Contemporary Art. Supported in part by the Contemporary Art Council of the Portland Art Museum, Maribeth Collins Exhibition Endowment Fund, Miller Meigs Endowment for Contemporary Art, and the OCAC Visiting Artist Fund.

The future starts anew at any moment, this moment is always in the present, this moment is always now. —Hito Steyerl

AFRICA FASHION

NOVEMBER 18, 2023 – FEBRUARY 18, 2024

The Portland Art Museum is eagerly looking up the runway toward Africa Fashion, a major exhibition this fall from the Victoria and Albert Museum (V&A) in London that will celebrate the richness and diversity of African creativity, cultures, and histories, using fashion as a catalyst. Spanning mid-twentieth century to contemporary designs, Africa Fashion explores the vitality of a fashion scene as dynamic and varied as the continent itself.

The irresistible creativity, ingenuity, and global impact of contemporary African fashions are celebrated in an extensive display of garments, textiles, adornments, personal testimonies, photographs, film, and catwalk footage in this exhibition. Many of the garments hail from the archives of groundbreaking mid-twentieth century African designers—Shade ThomasFahm, Chris Seydou, Kofi Ansah, Naïma

Bennis, and Alphadi. Designs from influential contemporary African fashion creatives, including Imane Ayissi, IAMISIGO, Moshions, Thebe Magugu, and Maison Art, appear alongside these historical works, on display for the first time in Africa Fashion.

Exhibition organized by the Victoria and Albert Museum, London. Curated by the V&A’s Christine Checinska, Ph.D., Senior Curator of African and Diaspora Textiles and Fashion, with Project Curator Elisabeth Murray. Curated for Portland by Julia Dolan, Ph.D., The Portland Art Museum’s Minor White Senior Curator of Photography. Supported by the National Endowment for the Arts, The Standard, Ed Cauduro Fund of the Oregon Community Foundation, Priscilla Bernard Wieden in memory of Dan Wieden, and Exhibition Series Sponsors.

Models holding hands, Lagos, Nigeria, 2019 by Stephen Tayo. Courtesy Lagos Fashion Week Design by Chris Seydou © Nabil Zorkot; Mbeuk Idourrou collection, Imane Ayissi, Paris, France, Autumn/Winter 2019. Photo: Fabrice Malard / Courtesy of Imane Ayissi.

“BLACK ART HISTORY IS BLACK HISTORY”

Guest curator Intisar Abioto on creating Black Artists of Oregon

The special exhibition Black Artists of Oregon (see page 14) grew out of the research of Portland artist Intisar Abioto, the exhibition’s guest curator. Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art, talked with Abioto about that process, the exhibition, and its importance for Black representation and power in the Portland Art Museum and beyond.

Grace Kook-Anderson: Intisar, can you talk about your approach to this exhibition as an interdisciplinary artist—explorer, researcher, performer, curator, writer, photographer, dancer?

Intisar Abioto: As a dancer and movement artist, I find creative possibilities in who is in the room. Black Artists of Oregon will show works by about 65 Black artists across eras and generations. The gathering of these artists’ works, the artists, artists’ families, and the communities in which they move and live in the Museum feels like the greater creative act, even more so than the exhibition itself. There’s a timeline here, a continuum of efforts and dreams to be sensed, that’s catalytic. The creative act will be what we all make of the moment. What will come of this?

Photo of Intisar Abioto by Renée Lopez

What compelled you to begin research on Oregon’s elder Black artists, and what has learning about these artists meant for you?

In 2018, I’d been living here in Portland for eight years and realized that I didn’t have an understanding of the Black artists who’d lived here in generations and eras before me. With support from Oregon Humanities’ Emerging Journalists, Community Stories Fellowship, I began research through oral history interviews with Black artists and elders Adriene Cruz, Bobby Fouther, Isaka Shamsud-Din, and others; archival research; and building a collection as part of the research. Understanding the efforts of Black arts elders and forebears reveals strong foundations laid, intergenerational power, and legacy. It has strengthened my purpose as an artist, tasking me with understanding and enacting success not as a soloist, but as an intergenerational collaborator.

What has your research process been? What did you find in our PAM archives?

The research began in winter 2018 through oral history interviews, archival and collections research, and building a personal collection of works by Oregon Black artists. I spent time in regional and national institutional archives; Oregon Historical Society, City of Portland, regional newspapers, and PAM’s Crumpacker Library, among them. In PAM’s archives I found materials from a family scrapbook on artist Thelma Johnson Streat, among other things. The research at Crumpacker was cut short by the pandemic, but I look forward to continuing research there. In 2019, in PAM’s collections I was able to identify about ten Oregonconnected Black artists, a number that also influences this exhibition. All of this research continues, finding new pathways from previous insights found.

You’ve been very thoughtful in thinking about the individuals in this exhibition and the intergenerational exchange of artists. Why is this important to you?

It’s important that we are able to understand, feel, and benefit from our efforts as Black artists in this region, across generations. There’s much in Oregon’s history of Black exclusion that would erase us, tell the story as if we were never here. As attacks on truthful tellings of Black history take place nationally, we know Black art history is Black history. Black art history is not only a tool of education, but a tool to affirm and support Black life and living today. An intergenerational telling—connecting younger artists with Black arts elders and ancestors—is vital. No one generation holds the story. We all must be engaged.

What do you want this exhibition to mean for Black representation and power at PAM and beyond? How does that ripple out to collections, programs, and the Museum’s Black Art and Experiences Initiative?

I see this exhibition as a strong planting. As a dancer, I’m concerned with and excited by who is in the room. This exhibition is a gathering of dreams, perspectives, wisdoms, and also vital questionings. We know representation is not enough. We know that power is in choice, authorship. In inviting these artists into this space through this exhibition—in revealing our presence—my goal is also to leave the reins with them. It is to reveal Black artists’, curators’, and Oregon’s Black communities’ authorship in arts history and thus in what’s to come at PAM and other regional institutions.

Can you share with us some details about artists who are important anchors in the exhibition?

Two artists who are anchors are Thelma Johnson Streat (1911–1959) and Charlotte Lewis (1934–1999). Both were born elsewhere, but moved to Portland as young children. Both became artist educators who worked with children. Thelma Johnson Streat, a painter, dancer, and folklorist, was purposeful about teaching young people about acceptance and diversity through her work, ultimately opening schools in Hawaii and British Columbia. Charlotte Lewis, a painter and textile artist, was also an arts teacher at the acclaimed Black Educational Center in Northeast Portland. These foundational Black women artists are given prominent place in the exhibition. Their lives and works still have much to teach us.

CONDUCTIONS: BLACK IMAGININGS SPOTLIGHTS BLACK ARTISTIC PRACTICES IN MUSEUM SPACE

In March, the Museum launched the first iteration of a new ongoing exhibition series, Conductions: Black Imaginings. With a focus on ephemeral-based works by Black artists, Conductions is a continuous conversation between Black artistic practices and reimaginings of Museum space. In conjunction with the Museum’s Black Art and Experiences initiative, which supports showcasing and acquiring important work by Black artists, this project marries Museum exhibition practices and public programs to think through the complexities of institutional commitment to Black artistic scholarship. Drawing on the use of the term “conduction” in Ta-Nehisi Coates’ novel The Water Dancer and the work of composer and music conductor Lawrence D. “Butch” Morris, conduction is a practice of

possibilities and a conjuring of unconventional routes toward collective creation and living.

Over the course of a week, visitors were invited to engage with the works of ariella tai, Ella Ray, and Sharyll Burroughs in a decentralized exhibition of video, social practice, and sculpture works that interrupted preexisting exhibitions with questions around Black agency, pleasure, rage, and creative autonomy. The works directly recognize power as a malleable material, nodding to our collective potential to manipulate, exchange, and destabilize it. Conductions closed with a public talk by Sharyll Burroughs and will result in a forthcoming podcast with Burroughs, as well as a publication featuring contributions from all three artists. Future iterations of Conductions: Black

Imaginings will engage with the particular challenge of navigating the shifting space of the Museum through Rothko Pavilion construction. Visitors can look forward to art objects in unconventional spaces in the Museum, more performances and social practice activations, and digital and off-site programming that reconsiders the Museum within the larger context of the Portland arts ecosystem.

Conductions: Black Imaginings is curated by Jaleesa Johnston, Head of Public Programs and Engagement, and supported by the Artist Fund and the Learning and Community Partnerships Department at the Portland Art Museum.

TOP: Portraits of the artists, from left to right: ariella tai, Ella Ray, and Sharyll Burroughs (Photo by Briana Cerezo of artist Sharyll Burroughs with When Blackface is Butoh video installation). BOTTOM: ariella tai, look back at me video still (2022).

ART BRIDGES COHORT PROJECT AIMS TO EXPAND ART ACCESS ACROSS REGION

In 2022, the Art Bridges Foundation identified the Portland Art Museum as a partner in its nationwide effort to support the development of art museums and arts organizations across the country to come together into professional “cohorts,” to both connect and provide arts education opportunities to their communities. The mission of The Art Bridges Foundation is to share collections and change narratives around American art.

For the past few months, PAM staff have traveled to different communities across Oregon to learn about what museums and other nonprofit arts organizations are doing to enhance access to art education and help art communities thrive. The core team for this project is made up of Teena Wilder (Art Bridges Community Partnerships and Curatorial Fellow), Ben Popp (Head of Art

Services at PAM CUT), Grace Kook-Anderson (Curator of Northwest Art), and Stephanie Parrish (Director of Learning and Community Partnerships).

During this listening tour, PAM identified six organizations who recently met for a convening in central Oregon. The convening was the first opportunity for the new partners to start brainstorming a multi-year, statewide initiative that will allow for a convening in Sisters, Oregon, and long-term partnerships while addressing the rural/urban divide in the arts landscape of Oregon and southern Washington.

The organizations visited across the region include:

• Chachalu Museum, Grand Ronde

• Oregon Film Museum, Astoria

• Five Oaks Museum, Portland

• Confluence, southern Washington

• High Desert Museum, Bend

• Umpqua Valley Arts, Roseburg

• Art Center East, La Grande

• Churchill School, Baker City

• Crossroads Carnegie Art Center, Baker City

• Immigrant Story, Portland

The Museum and its cohort partners hope to develop a community-centered project that reimagines art collections and how they engage with different communities in an effort to collectively strengthen the arts communities in our region.

TOP: Staff from museums and art centers across Oregon meet at Caldera Arts in Sisters, Oregon, to kick off a new Art Bridges Foundation cohort in the Pacific Northwest.

CELEBRATING NATIVE AMERICAN ARTISTS AND BRINGING COMMUNITY TOGETHER

Since last fall, visitors to the Museum have experienced three exhibitions from two Native American artists that expressed themes of identity, culture, and personal storytelling.

Dakota Modern: The Art of Oscar Howe and Jeffrey Gibson’s They Come From Fire and To Name An Other not only showcased Native American art excellence but, through related programming, celebrated Native culture and nurtured local connections.

In November, “Voices Like Thunder: An Afternoon of Poetry with the Native Arts and Cultures Foundation” (NACF) celebrated the release of NACF’s first published anthology, The Larger Voice—Celebrating Native Arts and Cultures Foundation Literature Fellows. A number of celebrated and emerging Native American poets read work at the event, including current and former poet laureates from Washington and Oregon.

The exhibitions were also a vital part of the Museum’s work with area schools. A November Evening for Educators allowed educators at all levels to learn about the exhibitions and artists, hear from the curator, and participate in workshops led by teachers from NAYA Many Nations Academy and Roosevelt High School. The exhibitions and their themes of personal identity and cultural expression were also the focus of Portland Public Schools’ Collaborative Art Project presented in the 2023 HeART of Portland K-12 Arts Showcase. For this project, United (Not Divided), hundreds of students created work inspired by the Howe and Gibson exhibitions and the artists’ desire to express their individuality, rather than conform to established styles.

In January the Museum hosted “POWER UP: They Come From Fire.” POWER UP is the Museum’s annual event celebrating middle school, high school, and college-age

LGBTQ2SIA+ youth and allies. Participants met new people, immersed themselves in powerful art by Jeffrey Gibson and other queer artists, participated in a drag workshop with Carla Rossi, and spoke their truth at an open mic. While Gibson was in town for this event, he also led workshops with students from Chemawa Indian School and the PPS Indian Education Program over two separate days.

LEFT, TOP: Jeffrey Gibson and Anthony Hudson/Carla Rossi at POWER UP; MIDDLE, BOTTOM: PPS student dancers at Miller Family Free Day; RIGHT, TOP: PPS students perform at the HeART of Portland opening; RIGHT, BOTTOM: Art making at at Miller Family Free Day.

The February Miller Family Free Day featured an all-day celebration of Dakota Modern: The Art of Oscar Howe and Jeffrey Gibson’s They Come From Fire and To Name An Other. Families and children attended storytelling sessions and participated in art-making activities with Indigenous educators Karen Kitchen and Sunshine Guzman, along with an array of presentations, performances, and activities planned in collaboration with Future Generations Collaborative, a public health collective impact partnership between Native and Native-serving organizations, institutions, and governments.

These community programs were made possible by support from the Institute of Museum and Library Services and from the Bank of America Charitable Foundation, which underwrote the Howe and Gibson exhibitions as well as related programs.

“Bank of America believes in the power of the arts to create connections for greater cultural understanding across diverse communities,” said Roger Hinshaw, Oregon and Southwest Washington President, Bank of America. “In supporting these important exhibitions and community engagement events, we wanted to help bring the arts to life for youth and our entire community.”

Connecting with Students and Educators

The Museum continues to make connections with, support, and encourage area schools to engage with art and artists. In addition to the Howe and Gibson programs mentioned earlier, educators were invited to dig into This is the Future, by the film and new-media artist Hito Steyerl (see page 19). The exhibition explores a vibrant, imagined garden through an immersive environment of video projection, sculpture, and architectural intervention that offers reflections on the complexities of the digital world, global capitalism, and the implications of artificial intelligence (AI) for society. Participants heard from the curator and engaged in a workshop with NW Noggin neuroscience educators. The workshop deepened their understanding of

Steyerl’s AI neural networks by enabling them to investigate real neural networks and reflect on the biological wiring that makes everyone unique.

In April, the Museum was thrilled to host the ninth annual Portland Public Schools HeART of Portland arts showcase. Over 1,300 people attended the opening night student performances that kicked off a two-week visual arts exhibition in the Miller Gallery filled with student artwork from across the district. The visual arts exhibition culminated in a full-day celebration during the Miller Family Free Day with art-making and student performances in the galleries.

LIFE TRUSTEE HONORS FOR FRED JUBITZ AND PAT RITZ

The Museum is pleased to announce Fred Jubitz and Pat Ritz as new Life Trustees. Together they join a distinguished group of dedicated individuals whose support and service have had a lasting and significant impact on the Museum.

Fred Jubitz and his wife, Gail, have been involved with the Museum since 1991. Fred served as Board Chair from 2019 to 2021 and also served on the audit and executive committees. Gail served two terms on the board and was a member of the docent council. Fred’s tenure as Board Chair during the pandemic was essential to the Museum’s ability to persevere during this unprecedented moment in history through his commitment, leadership, and trust.

Fred was actively involved in the Museum’s 2005 North Wing expansion, with the Jubitz Center for Modern and Contemporary Art named for his family’s support. The Jubitzes have also given generously to many areas of the Museum including exhibitions, endowment, and the current Connection Campaign— naming the Jubitz Terrace on the second floor of the forthcoming Mark Rothko Pavilion.

Pat Ritz has been on the board since 1991, acting as Board Chair from 2017 to 2019. He has also served on the executive, audit, finance, governance, and investment committees. Pat’s family has a long history with the Museum. His greatgrandfather’s brother, Henry Failing, was one of the founding members of the Portland Art Association in 1892, which later became the Portland Art Museum, and his grandmother’s sister, Henrietta H. Failing, was the first director. Henry’s daughter, Henrietta E. Failing, served on the Museum board for over forty years and made many significant gifts of art and money after her father’s death. The last direct descendent of Henry Failing, Henry Cabell, served as a board chair in the 1960s and bequeathed much of the art he had inherited to the Museum upon his death. In all, there are nearly 700 items in the permanent collection given by the Failing family.

The generosity of Pat and his wife, Trudy, has made them among the Museum’s most active donors, giving to many areas including current and past capital campaigns, endowments, exhibitions, art acquisitions, and more. The Ritz Family Public Passage through the new Mark Rothko Pavilion will be named in the family’s honor.

“I am honored to add Fred and Pat as Life Trustees,” said Portland Art Museum Director Brian Ferriso. “Together they have provided invaluable counsel, support, and leadership to our Museum. I am grateful to them and their families for their continued and unwavering belief in the value of art for our community.”

CINEMA UNBOUND AWARDS BRINGS WORLD-CLASS MEDIA ARTISTS TO PORTLAND ART MUSEUM

The Museum’s cutting-edge media arts organization, PAM CUT // Center for an Untold Tomorrow, is hosting the fourth annual Cinema Unbound Awards on June 22, 2023, highlighting artists, innovators, and leaders who are not content to be contained.

The 2023 celebration will include a transformative meal conceived by honoree and Portland’s most celebrated chef, Gregory Gourdet, whose restaurant, Kann, was named the Best New Restaurant in America by Esquire and one of the top 50 restaurants in America by The New York Times

This year’s awardees include multifaceted individuals working at the intersection of art and cinema changing for whom, by whom, and how cinematic stories are told.

Past honorees include artists Steve McQueen, Shirin Neshat, Garrett Bradley, Carrie Brownstein, Gus Van Sant, Todd Haynes, Roger Ross Williams, John Cameron Mitchell, and industry innovators such as UTA Fine Arts’ Arthur Lewis, MoMA’s Rajendra Roy, Venice Biennale’s Michel Reilhac, and ShadowMachine co-founder Alex Bulkley. Presenters have included Academy Award Best Picture winners Bong Joon-ho (Parasite) and Chloe Zhao (Nomadland), as well as multifaceted artists Isabella Rossellini, Charles Burnett, Jeff Goldblum, Ta-Nehisi Coates, Alessandro Michele (former Creative Director, Gucci), and performer Justin Vivian Bond.

Tables and tickets are on sale now at:

pam.to/2023-cua

Experience an unbound evening that promises to pique your curiosity, expand your imagination, and inspire all your senses. Proceeds from the evening support programs that embrace unbound storytelling and contribute to an expansive and diverse mediaarts ecosystem.

Thank you to our 2023 Cinema Unbound Awards sponsors: LAIKA, Netflix, Mary and Don Blair, KeyBank, Gucci America, The Ritz Family, ShadowMachine, Marcy Schwartz, Westridge Family Foundation, Alix Goodman and Linda Andrews, Lana and Christian Finley, and Bonnie Serkin and William Emery.

MULTI-TALENTED MAESTRO

Fred Armisen, Comedian, creator, producer, and musician

TASTEMAKING TRAILBLAZER

Gregory Gourdet, Chef, TV personality, author, and advocate

THE GROUNDBREAKER

Jacqueline Stewart, MacArthur Award–winning curator, film scholar, TV personality, and Director & President of the Academy Museum of Motion Pictures

CREATIVE POLYMATH

Guillermo del Toro, Academy Award–winning director, producer, screenwriter, and novelist

SPECTACULAR STORYTELLER

Jon Raymond, Novelist, screenwriter, and editor

ASTONISHING ARTIST

Tessa Thompson, Actress, singer, executive, and activist

Learn more about this year’s Cinema Unbound Awards honorees at pamcut.org/cinema-unbound-awards

ANIMATIONTASTIC 2023 Meet our Artist Instructors!

Summer is on the horizon, and the PAM CUT team has assembled an exceptional roster of Artist Instructors for this summer’s youth camps (June through August) inspired by ShadowMachine’s dazzling animation artistry in Guillermo del Toro’s Pinocchio. Each camp’s daily schedule is designed by the Artist Instructor to make each day extra special and play to the strengths of the campers. Let’s meet the Animationtastic 2023 PAM CUT Summer Camp Artist Instructors!

JACK KENT ILLUSTRATED STORYWORLD

Growing up in Newport, Oregon, Jack would create little comics and doodles to share with his school buddies. Making people smile through art was all he wanted to do. His life goal was to become a cartoonist. Now, Jack is the brains (and ink) behind comics such as Sketchy People, Minus Tide, and Gulls kentcomics.com

IAN LEVESQUE GAME JAM! ANIMATION FOR VIDEO GAME DESIGN

This is Ian’s second summer, joining us all the way from Virginia to share his passion for video game design. Ian’s stop-motion game Floogen can be played on Steam and the Nintendo Switch. PC users can also play last year’s Game Jam game, PAM the Inspirer! pam.to/PAMtheInspirer

FRY CREATURE CREATION

Fry is a visual strategist, illustrator, and community organizer who believes images are a powerful tool for creating positive change. With a strong foundational knowledge of design and teaching, she has held leadership roles in the education sector for the past five years. Her interest in visual work is founded on an appreciation for deeper levels of listening, cultivating new mindsets, and allowing space for people to be creative. kfrydraws.com

EVELYN JANE ROSS TOONTUNES! // ANIMATION AND MUSIC VIDEOS

Fresh off her time as a stop-motion animator on Guillermo del Toro’s Pinocchio, Evelyn is back at ShadowMachine animating on an upcoming project. Luckily, Evelyn is able to take a week off in order to join PAM CUT as an Artist Instructor, combining her passion for stop motion with her love of music. evelynjaneross.com

EMMA RAE PROCHASKA ALTERNATIVE ANIMATION & EVERYTHING ANIMATION!

Emma assists PNCA’s esteemed stop-motion animation courses led by last summer’s stop motion instructor, Suzanne Moulton. She specializes in using found objects and items found in nature for her animations. Emma will also be teaching the second session of Frame by Frame // Intro to Stop Motion.

ANDRÉS EDUARDO FRAME BY FRAME // INTRO TO STOP MOTION ANIMATION

Before his work with ShadowMachine Studios’ animation department on Guillermo del Toro’s Pinocchio, Andrés directed the Annie-nominated student film Con Fuerza, which was inspired by his VenezuelanAmerican ancestry. Andrés is also the creator of the endlessly clever Blue Dinosaur webcomic. bluedinosaur.net

STEVEN CHRISTIAN AUGMENTOPIA // ANIMATION FOR AR

Steven, a former athlete, turned to art and mobile development after undergoing bilateral hip reconstructive surgery during college. He holds a Master of Arts in visual representation of social issues and now works in augmented reality to empower Black communities through creativity, art, and technology. He founded Iltopia Studios to inspire and empower people from his community and aims to reinvent himself as a visual artist. stuckonaneyeland.com

Learn more and sign up for camps—plus classes, workshops, special events, and more—at pamcut.org.

MEMBERS & PATRONS

JUST FOR MEMBERS

Traveling this summer?

Take your membership with you!

Our Friend ($160) and above level members receive reciprocal admission privileges with over 50 major museums around the country, including Seattle Art Museum and the Fine Arts Museums of San Francisco!

Visit portlandartmuseum.org/membership for a full list of participating museums. If you’re currently at the Individual or Dual level and would like to upgrade, give us a call at 503-276-4249.

SAVE THE DATE SUMMER MEMBERS NIGHT FOR GUILLERMO DEL TORO: CRAFTING PINOCCHIO

JULY 13, 5 – 8 P.M.

You’re invited! We can’t wait to welcome you to the Museum for a special members-only night in the galleries in celebration of Guillermo del Toro: Crafting Pinocchio! Come mingle with other members, engage in fun activities, and learn more about our spectacular new exhibition.

Invitations will be sent by email, so watch your inbox for more details to come!

Do we have your email address? Don’t miss out!

We offer lectures, film screenings, classes, events, and more at free or reduced cost to members. Make sure we have your current email address on file to stay connected with your museum and never miss an invitation.

Need to know more?

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.

Visiting the Museum as a Member

All members receive FREE for admission to the Museum (a savings of $25 per ticket!). Current membership cards and/or photo identification are required for entry on the day of your visit. Please note that member tickets are limited to the individuals listed on your membership cards. To reserve your tickets online, visit portlandartmuseum.org/tickets.

Annual Automatic Renewal and Monthly Installment Plans are available to make renewing your membership easier than ever! Call us at 503-276-4249 to sign up to have your membership renewed automatically or set up payments in installments of as low as $13.33 a month.

—Perla, member since 2008

Installation view of the exhibition Guillermo del Toro: Crafting Pinocchio at MoMA, December 11, 2022–April 15, 2023. IN2511.5. Photograph by Emile Askey.

“I even moved to Seattle and kept my membership because I loved it so much! I chose monthly installments because it allows me to visit and keep within my budget... I call it my art diet!”

PATRON SOCIETY

Experience a deeper connection to the Museum—and each other—through a year-round program of insider access, events, travel opportunities, and more.

Patrons are among the Museum’s closest supporters, elevating their contributions beyond membership in the spirit of philanthropy. Through special programs and enhanced access, Patrons get an insider’s view of how their annual support helps the Museum thrive and evolve.

Special Offer—Join the Patron Society by June 30 to receive exciting benefits including:

• Invitation to a new Patron welcome event with Museum Director Brian Ferriso and a curator. Date to be announced

• Guided tour of your favorite collection

• Special access to events, including our annual gala and exhibition previews

• Local, national, and international travel opportunities

Easy ways to join or upgrade to the Patron Society

• Online through our website at portlandartmuseum.org/patron-society

• Through monthly payments starting at $166 a month. Monthly payments ensure your membership is always current, so you never have to worry about renewing!

For more information about the Patron Society, please contact Aashna Tiruvallur, Patron and Annual Giving Officer, at aashna.tiruvallur@pam.org or 503-276-4203.

SAVE THE DATE ANNUAL GALA

NOVEMBER 18, 2023

Mark your calendars for the Portland Art Museum’s annual gala celebrating Africa Fashion, an international exhibition from the V&A in London. Guests will enjoy a vibrant and inspiring evening of art, fashion, music, dining, and more! Watch for a formal invitation this fall with information on reserving tables and tickets. All gala proceeds support the Museum.

PATRON VIEWING

JULY 2023

Patrons are invited to a behind-the-curtain look at Guillermo del Toro: Crafting Pinocchio. Enjoy private access to the exhibition and a special gift from the Museum shop.

EXHIBITION PREVIEW AND RECEPTION

AUGUST 26, 2023

Celebrate the opening of Black Artists of Oregon. Preview the exhibition before it opens and enjoy an outdoor party in the Evan H. Roberts Sculpture Mall for patrons, artists, and community partners. Watch for an invitation this summer.

TOP: Africa Fashion, Models holding hands, Lagos, Nigeria 2019 by Stephen Tayo. Courtesy Lagos Fashion Week; MIDDLE: Guillermo del Toro on the set of Guillermo del Toro’s Pinocchio, 2022. Image courtesy Jason Schmidt/Netflix; BOTTOM: Shedrich Williames (American, born 1934), Untitled, 1972, gelatin silver print, Gift of Al Monner, 94.36.1.

SUSTAIN THE MUSEUM FOR THE NEXT 130 YEARS THROUGH MONTHLY GIVING

Did you know that a monthly gift can have a lasting impact on the Portland Art Museum? Not only is monthly giving a convenient way to spread your support out over time, it provides a reliable source of funding to support our mission throughout the year.

Help us grow our monthly giving circle!

For a limited time, the first 25 donors to sign up for a secure, automatic donation of $20 or more per month will have an opportunity to enjoy a private tour of their favorite gallery (with prior arrangement)!

; JOIN by visiting portlandartmuseum.org/ give-monthly/ or scan the QR code with your smartphone to get started.

; INCREASE your monthly giving amount at any time to further show your love of the Museum.

Make

Ron Cronin, A Clearing Storm from Broughton Reach, Oregon, 1991, dye coupler print, Gift of the Artist, © Ron Cronin, 93.19.2

GIFTS & GATHERINGS

THANK YOU

All gifts above $250 received November 1, 2022 - February 28, 2023 *deceased

Trish M. Brown and Cleveland Abbe

Roy and Kay Abramowitz

Maryclare Adame

Carol and Charlie Adams

Thomas Adams and Kathleen McDonnell

Adriane T. and Samuel S. Blackman Family Fund of Oregon Community Foundation

Brook Ahnemann and Daliah Colunga

Roudi Akhavein

James Alexander and Pamela Griffith

Emily and Colby Aley

Ginny and Bill Allen

Rebecca and Mark Allen

Andrea and Steve Anderly

Dick and Jan Andersen

Dianne C. Anderson and Mel Katz

Judy Anderson

Loren Anderson

Sandra and Stephen Anderson

Linda and Scott Andrews

Peter and Maddie Andrews

Mr. Oscar Arana

Stephen Archer

Alissa Arp and Sue Dakin

Art Bridges Foundation

Shirley Ash

Jean and Ray Auel

Margaret Maclean and Jacob Badger

Robert and Martha Bailey

Robert and Julia Ball

Bank of America Foundation

Ann Barkley

Phillip and MaryAnn Barnekoff

Sharon and Keith Barnes

Robin Barney

Guy Barron and Nora Barron

John E. Bates, Honorary Consul

General of the Republic of Korea and Susan S. Bates

John and Lynn Beard

Missy and Peter Bechen

Scott Becker and Meg Thibodeaux

Jane and Spencer Beebe / PDX Contemporary Art

Anthony and Martha Belluschi

Tangie Belmore

Nancy and R. William Bennetts

Pamela Berg

Dana S. Berger and Josephine Berger

Deborah Bergman

Martha Bergman

Daniel Bergsvik and Donald Hastler

Patsy Crayton Berner

Mary and Joe Bernert

Elizabeth Bilyeu

John and Suzanne Bishop

Mary Bishop \ The Broughton and Mary Bishop Foundation

Susan T. Bishop and Hal Lee

Mary and Don Blair

Andrea Blaser and Edward Niedermeyer

Janice Bleibaum

Colleen and Richard Blohm

Randy and Kim Boehm

Mary Lee Boklund

Margaret Bolger

Terrie Bollinger

Mr. Richard Born

Christina and Tom Bourdeaux

John Bowman

Chris and Kate Boyer

Mary and Tim Boyle

Todd and Susan Bradley

Barbara and Robert Brady

Yvonne and John Branchflower

Dr. Kate Bredeson and Finn Clayton

John and Sarah Brehmer

Kandis Brewer Nunn

Judith and Harlan Bridenbaugh

Wayne L. Bridges

Alison E. Brody and Donald C. Bingham

Marianne Brogan and Ann Smith

Ashley Bronson

Barbara Bryan and Michael Bishop

Andy and Nancy Bryant

Deborah Buchanan and Scott Teitsworth

James and Diane Burke

Catherine E. Burns

Donna Burrell and Jane Eggerstedt

Eric and Robin Busch

Genevieve Buser

Bryce Butler

Jeffrey and Amanda Butler

Virginia Butler and Andrew Fountain

Ann and Emily Bynum

Ida and Michael Cahana

Katherine and Vincent Cahill

Mrs. Barbara Caldwell

Richard Caldwell

Laura Campos

William P. Carl

Suzanne Carlbom

Sara Carlson and Beth Strasburger

Steve and Debbie Carlton

Elizabeth Carnes

Miranda Carney-Morris and Douglas Morris

Brent and Laura Carreau

Christopher Carter

Sandra Castro

Catena Consulting Engineers

Terrance P. Cavanagh and Leroy Meikle

Wendy and Richard Cawley

Estate of Ronald Chaff*

David Mallison and Carolyn Chaliff

Janet Chambers and

Isabelle Davison

Valri and Vincent Chiappetta

John and Sherry Chin

Becky and Frank Chinn

Chubb Insurance

Gayle and Michael Church

Joan J. Cirillo and Roger Cooke

CK Hoffman Design LLC

Elisabeth and Jerry Clark

Marci K. Clark and James N. Bartroff

Caryll and Cory Clausen

M.J. Cody

Marcia and John Cohen

Rhonda Coleman and Ralph Emerson

Sheridan and Richard Collins

Truman Collins

Cassandra Colten

Mr. Jeffrey G. Condit

Tyler Connoley

Richard and Nan Conser

Marty Fromer and Mary Jo Cook

Mr. James Cooke

Mike and Denise Cooney

Thomas and Barbara Cooney

Kathleen and Paul Cosgrove

Cheney and Mary Cowles

Noah Cox and Jennifer K. Smith

John G. Crawford and Jody L. Stahancyk

Marian Creamer

Betty Curtis and Deborah Thomas

Sally and Denny Dadmun-Bixby

Jay Dahlke

Alethea Dalton and Eric Nelson

Catherine Dalton and Nick Rayner

Jill and Antonio Daniels

Dr. Marcia G. Darm and Mr. Bruce Berning

Lisa J. Davidson

Davidson Galleries

Chris Davie

Cameron and Dick Davis

Karl Davis

Maureen and Kerwin Davis

Elizabeth and Kirk Day

Paul and Pamela De Boni

Ms. Kathleen De Montlebert

Christelle and Jon deAsis

Garfield deBardelaben

George and Barbara Dechet

Jessica and Edward Decker

MaryAnn E. Deffenbaugh

Barbara Delano and John Wyckoff

Nancy and Frederic Delbrueck

Caitlin Delohery

Bernard Derroitte

Daniel Deutsch

Devil’s Food Catering

Mrs. Mary R. Dick

Mary Dickson

Claudia Dissel

Mr. Kirk Dobbins and Herbert Kitchen

Charles Dobson and Donna Schultz

Ronald and Linne Dodge

John Michael Donnell and Tana Hall

Martha W. Dougherty

Faith Dubin and Anthony LeMay

Cooper Dubois

Barbara Duerden

Nancy Duhnkrack

Allan and Margaret Dunn

Lynn Dunn and Paul Molnar

Jett Black and Corin Dupree

Kitt and Butch Dyer

Sage Ebert

Carol Edelman

Barry A. Edwards

Ken and Ann Edwards

Edwards Lienhart Family Foundation

Dana Eggerts

Elizabeth Leach Gallery

Alison Ellsworth

Kenneth Emmerson

Russell A. Erdman

Eric and Hollie Lindauer

Alexis and Matthew Erickson

Estate of W.H. Nunn

Jeffrey D. Ewen and Sylvia Tower

George W. Fabel

Jennifer and Mark Fagerstrom

Adam and Jessica Farley

Dr. Samuel Farmer and

Stephanie Holmes-Farmer

Mr. and Mrs. William Farrens

Tom Fawkes

Nico Fearn and Meg Croze

Edward and Gloria Feinstein

Susan Fernald

Lana and Chris Finley

Ryan and Mary Finley

Valerie Lau and David Fiske

Kaitlin Flanigan and Wesley Griswold

Myron and Pat Fleck

Ann Flowerree / Flowerree Foundation

Melissa Foley

Fong Family Fund

Bob and Konky Forster

Charles and Zoe Foster

Janet A. Fowler

Stephanie Fowler and Irving Levin

Kimberly Fox and Stephen Jones

Pamela Frankel

We gratefully acknowledge the members and supporters who make our mission possible.

PORTLAND FINE PRINT FAIR

PAUL MISSAL DONOR EVENT

Images by Shayla Naswood Photography

TRIBUTE GIFTS

In Memory of Jim Winkler

Maryclare Adame

Guy and Nora Barron

Mary C. Becker

Mary Lee Boklund

Kandis Brewer Nunn

Karie Burch

Catena Consulting Engineers

Mrs. Mary R. Dick

Janet H. Geary

Mr. and Mrs. Jeff Grubb

Selby and Douglas Key

KG Investment Properties

Heather Killough

Paul King and Walter Jaffe

Helena and Milt Lankton

Martha Lee

Cyndy and Edward Maletis

Helle and Wei Nathan Fund of the Oregon Community Foundation

Mary Reisher and Barry Berlin

Peter and Julie Stott

Lori Singer

George Lampus

John Ward, R&H Construction

Julie and Jaidev Watumull

Jill Webberley

Michelle Weisenbach

Anonymous (2)

In Memory of Nancy Carter

Kandis Brewer Nunn

Loree Devery and Robert Trachtenberg

Faye and Ken Hall

Stephen Kessler and Alma Wong

Ricki McIlwraith

Lynn McNamara and Phillip Fell

Ms. Jean Miley

Marilyn and Neil Morfitt

Idelle Weinstein

Anonymous (2)

In Memory of Gwyneth Gamble Booth

Bechen Family Foundation

Kandis Brewer Nunn

Heather Killough

Mary C. Becker in Memory of John Bentley

Mary Lee Boklund in Memory of William Hetzelson

Mr. Richard Born in Memory of Dennis O. Adrian

Wayne L. Bridges In Memory of Carol Hilborn Bridges

Jonathan Falk in Honor of Hazel Falk

Robert and Judith Fisher in Memory of Jane Harriet King

Jane and Michael Flax in Honor of Donna Carmichael

Nancy Frisch in Honor of Alix M. Goodman

Alix and Tom Goodman in Honor of David McFarland Munro

Marcia and Paul Haack in Honor of Marcia Haack

Mary L. Hautau in Memory of Virginia Calley

Susan and Byron Henry in Memory of Art Dodd

Cynthia Kirk in memory of Jim Leisy

Linda Knuth and John Martin in Honor of Elinor Shank

Mary A. Lockyear in Memory of Michihiro Kosuge

Ruth M. McDevitt in Memory of Robert J. McDevitt, Sr. M.D.

Julie Nash in Memory of Helaine M. Hart

Don O’Leary and Pat Miya in Memory of Andrée H. Stevens

Michael Parrish in Celebration of Stephanie Parrish

Janice E. Quivey in Memory of Virginia Calley

Naseem Rakha and Chuck Sheketoff in Memory of Helaine M. Hart

Craig and Mary Ruble in Honor of Janet Edwards

Edward Thomas and Martha Moore in Honor of Angela Snow

Charu Uppal in Honor of Ross Imbler

Gina Velasco in Honor of Louisa Marie

LEARNING & COMMUNITY PARTNERSHIPS ACCESS SPONSORS

As of February 28, 2023

Louis and Virginia Clemente Foundation

The Lamb Baldwin Foundation

FRAME Institute of Museum and Library Services

Nancy Lematta

The Reser Family Foundation

Barbara and Phil Silver

Joseph E. Weston Public Foundation of the Oregon Community Foundation

EXHIBITION SERIES SPONSORS

As of February 28, 2023

PRESENTING SPONSORS

William G. Gilmore Foundation

Laura and Roger Meier Family

The James F. and Marion L. Miller Foundation

M.J. Murdock Charitable Trust

LEAD SPONSORS

Mary and Cheney Cowles

Mary and Ryan Finley

Flowerree Foundation

Dorothy Piacentini

MAJOR SPONSORS

Mary and Tim Boyle

Travers and Vasek Polak

Pat and Trudy Ritz

The Smidt Foundation

The Standard

Charles and Darci Swindells

SPONSORS

Sharon and Keith Barnes

Northern Trust

Pamplin Foundation Endowment for the Arts

The people of Portland through the Arts and Education Access Fund

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.

THE POWER OF A PLAN

A FEW THINGS TO CONSIDER:

Creating a will or an estate plan is less about form and procedure and more about considering all the people and causes that are important to you.

• A well-written will can be a couple of pages long.

• If you do not create a plan, the state will create a plan for you, and that plan may not match your wishes and values.

• A will gives you the ability to direct how you want your assets distributed.

• A living trust may avoid time-consuming legal processes, which can be expensive.

• A trust gives you flexibility, tax advantages, and peace of mind now and into the future.

• Life insurance, joint accounts, and trusts pass assets outside of probate. With proper planning, these assets can go to your beneficiaries automatically.

THE BENEFITS OF CREATING YOUR PLAN

In addition to peace of mind, creating your plan provides advantages that begin now and continue forever. Here are some ways a plan can benefit you and your loved ones:

• You can minimize taxes for your heirs.

• You can include healthcare and end-of-life instructions so even if you cannot speak for yourself, others will clearly know your wishes.

• You can live every day knowing you have not left your life’s work to chance.

We are here to help, and we would love to talk with you about how the Portland Art Museum can be a part of your legacy. Please contact Charu Uppal, Associate Director of Individual Giving, at 503-276-4315 or charu.uppal@pam.org to request resources and planning materials.

Fine print: this information is not intended as legal or tax advice. For such information, please contact your financial advisor or attorney.

Did you know that planning your future now can help secure the future of your family and friends, and support important missions you care about such as the Portland Art Museum?

Jean François de Troy (French, 1679-1752), Allegory of Music 1733, oil on canvas, 40 1/2 in x 38 in, Gift of Dr. and Mrs. Edwin Binney, 3rd. Portland Art Museum, Portland, Oregon, 68.29

Recent studies show that nearly half of all Americans have not prepared a will or an estate plan.

SHOP FOR ART

Portland

Rental Sales Gallery

Located just behind the Museum at Southwest 10th Avenue and Jefferson Street, our Rental Sales Gallery offers a great opportunity to fill your walls with stunning original fine art, through either purchases or our art rental program. RSG is open for walk-in visits Tuesday–Saturday, 11 a.m. to 5 p.m.

Museum Store

The Museum Store is now online, with shipping and curbside pickup, and it’s easier than ever to browse the eclectic selections that the Store is known for. Visit store.pam.org and use discount code MEM1219 to receive your 10% member discount on the same great merchandise you’d see in-store, online! The Store remains open during Museum visitor hours (check portlandartmuseum.org for current hours and restrictions).

Support the Museum by shopping in our Museum Store or online at store.pam.org. Celebrate the art and beauty of the place we share, as well as our usual huge selection of cards, books, jewelry, handbags, scarves, and toys.

With prices starting from just $40 for a threemonth rental, this is one of the most accessible ways to have beautiful, unique artworks in your home or business. RSG also offers delivery and installation services.

Make sure to visit the Gallery soon to see our Spring Member Artists Show. There are more than 200 newly acquired works now available in the inventory.

The Gallery has more than 1,000 original works of art by over 200 regional artists, all available for rental or purchase. Every transaction supports our artists and Portland Art Museum. Visit the gallery online at rentalsalesgallery.com or contact us at 503-224-0674 or rentalsales@ pam.org to find out more.

PAM Venues

Engage in the Portland Art Museum mission by hosting your next event in one of our historic spaces. Whether you are planning an intimate wedding, a 500-person fundraiser, or any other milestone event, we offer a diverse assortment of unique event spaces. Our venue provides an event experience that your guests will never forget. Visit events.portlandartmuseum.org.

The Museum’s beautiful Kridel Grand Ballroom (seen above at a 2022 wedding) features major upgrades to lighting and audiovisual systems for a state-of-the-art experience.

The

Art Museum’s retail and rental programs help support our mission of engaging and inspiring the community through art.

PROGRAMS

For the latest on virtual programs, pop-up happenings, and ongoing offerings, subscribe to our email newsletter and check our online calendar at portlandartmuseum.org/calendar.

CONTACTS

General Information 503-226-2811

Membership Information 503-276-4249

HOURS

Wednesday–Sunday, 10 a.m. – 5 p.m. Please check portlandartmuseum.org for the most up-to-date information on hours and admission rates.

ADMISSION

Members/Children (17 and younger)* free Adults $25 Seniors (62 and older) $22 Students (18 and older with ID) $22

*Children 14 and younger must be accompanied by an adult.

Tickets available online.

FREE & REDUCED ADMISSION

EXHIBITION SCHEDULE Opening

GUILLERMO DEL TORO: CRAFTING PINOCCHIO

June 10 – September 17, 2023

BLACK ARTISTS OF OREGON

August 26, 2023 – March 17, 2024

THROUGHLINES: CONNECTIONS IN THE COLLECTION

October 2023 – April 2024

AFRICA FASHION

November 18, 2023 – February 18, 2024

Continuing

HITO STEYERL: THIS IS THE FUTURE

Through June 18, 2023

NATURE VIVE: PAUL MISSAL

Through July 30, 2023

UNTITLED (PLAID PANTRY): PAINTINGS BY DAVID ROSENAK

Through July 30, 2023

Every Day

Children ages 17 and younger are free.

Arts for All – Oregon Trail Card holders can purchase up to two admissions and/or PAM CUT Whitsell screenings for $5 each.

Blue Star Museums Program – Offers free admission to the nation’s active-duty military personnel and their families.

Multnomah County Library Discovery

Pass – Two free adult admissions by using a Multnomah County Library account to reserve.

College Pass – $25 for a full year of free admission for college students. Register online, then present your student ID at entry.

YOU ARE AT THE HEART OF EVERYTHING WE DO

The Portland Art Museum is an anchor for culture and education in our growing and evolving community. Through our collection and exhibitions, we reflect on times past and present, explore and investigate important events, and reimagine our collective future. We share art that celebrates our creative history and compels us to build empathy for each other in ways nothing else can.

This mission is only made possible by your support—through memberships, donations, community partnerships, and more. You sustain our vital work and help future generations create their own lasting art connections.

Thank you for being a part of our Museum family, for believing in the power of art, and for empowering our mission.

Williames (American,