Portal, Spring 2023

PAVILION

EXHIBITIONS & INSTALLATIONS

Hito Steyerl: This is the Future

Masterworks | Portland: Botticelli Continuing Exhibitions

Upcoming Exhibitions

NEWS & NOTEWORTHY

Year in Review

Curatorial and Community Partnerships Fellows

Beloved Bouguereau painting Nature’s Fan given to Museum Recent Acquisition Highlights

Educator programs deepen art learning partnership with Portland Public Schools

PAM CUT Shaping Dreams: Polymorf Programs

PORTAL, VOL. 12, ISSUE 1

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

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

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: Rothko Pavilion, West Plaza Passage Rendering courtesy of Hennebery Eddy Architects; Hito Steyerl, exhibition view n.b.k., 2019: Hito Steyerl, This is the Future, 2019; Power Plants 2019. Courtesy of the artist; n.b.k.; Andrew Kreps Gallery; Esther Schipper. Photo © n.b.k. / Jens Ziehe; Sandro Botticelli (Italian, 1445–1510), Madonna of the Magnificat ca. 1483. Tempera, oil, and gold on wood panel. Private collection. Image courtesy of Christie’s; Symbiosis photo by Nina Johnson.

FROM THE DIRECTOR

After nearly 15 years of planning, I am excited to share that we are preparing for the commencement of construction of the Rothko Pavilion. The Pavilion and related expansion and renovations will transform our campus, making it more accessible for all users. By the time you receive this magazine, it is likely that fences will be up and other activity will be underway on the south side of our campus as we embark on the site preparation by moving the loading dock to Southwest Jefferson Street. I encourage you to read more about the project on pages 4–10, and I look forward to sharing more insight, information, and ways that you can help support this important transformation in the coming months and years.

Beyond making our building a more welcoming and inclusive place to connect with art and each other, we are proud to be strengthening and revitalizing our central downtown Portland neighborhood with this significant construction project. Having celebrated our 130th anniversary and been inspired by the vision that my predecessors had when constructing our Main Building in 1932 during the Great Depression, I feel buoyed by the past and energized by the future.

Our curatorial team has also planned a diverse slate of exhibitions and programs, to which our members receive preferred access. Your memberships are essential not only for connecting our community with transformative art, but for helping restore and invigorate the city we share. Thank you for your ongoing and renewed support. And please excuse our dust as we invest in our Museum.

Sincerely,

Brian J. Ferriso Director and Chief Curator

TRANSFORMING OUR CAMPUS

The founders of the Portland Art Museum built the Main Building in 1932 during the Great Depression, knowing that our community would benefit from an art museum to inspire, educate, and connect us across time and place. In the 90 years since, the Museum has grown alongside our community both physically and programmatically. The intervening decades have seen new building additions, renovations, and retrofitting—all in the pursuit of creating an evermore expansive and accessible experience with art.

While curators bring the world to Oregon and Oregon to the world and explore new ways of collecting, exhibiting, and collaborating, we have emerged as a more inclusive museum. Despite our success over the past 130 years, your Museum is not as accessible as it could, or should, be. Our campus spans two

buildings that are connected only through an underground link that must be accessed through a network of stairs and aging elevators. The spaces that we occupy don’t yet serve their purpose of providing an accessible and welcoming experience for all visitors, but we have a plan to fix them.

In order for the Portland Art Museum to continue to provide access to the arts and programs for all ages, and to meet the needs of our ever-changing city and state in the next century, our buildings need to evolve. In November of 2023, we are starting construction on a new, central glass pavilion—The Mark Rothko Pavilion.

The Pavilion will be named in honor of renowned abstract artist Mark Rothko (1903–1970), who spent his childhood in Portland after his family immigrated from Latvia.

Rothko attended Lincoln High School, took art classes at the Museum, and even had his first exhibition here.

This once-in-a-generation project will also provide extensive renovations to existing spaces within our two Museum buildings that have been inaccessible and difficult to navigate for decades. Once the work is complete, the experience of visiting our Museum will be drastically improved.

What’s Happening Now

As part of the preparation for constructing the Rothko Pavilion, the first step involves relocating the loading dock from its current location to the south end of campus on Southwest Jefferson Street. Moving the loading dock will improve upon the 1958 addition, which connected the Ayer and Hirsch Wings and created a gallery between our Asian and Japanese collection galleries. While that gallery will be transformed into the new loading dock, a new gallery will be built above it, creating new art viewing opportunities between our European and American galleries. This move not only makes way for the Pavilion, but provides a much safer and more efficient way to move art and exhibitions in and out of the Museum. In addition to moving the loading dock, the builders will begin to construct what will become a central elevator bank, stairwell, and adjacent restrooms.

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), ensuring visitor and staff safety, and our visitor services associates are always here to help. During the loading dock construction (January to September 2023), you can expect to see fencing along the south side of campus on Southwest Jefferson Street, between Southwest Park and 10th Avenues.

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.

PROJECT HIGHLIGHTS

The Rothko Pavilion is just the beginning

The Rothko Pavilion. With the new Mark Rothko Pavilion, we have the opportunity to provide not only an elegant and fluid connection between the two buildings, but one that invites all people, regardless of their individual capabilities, into the campus to easily access and enjoy the entire Museum’s collection, exhibitions, and programmatic spaces across all four floors.

Portland’s Newest Living Room. Located through one of two new central and accessible entryways, the Swigert Warren Community Commons on the Pavilion’s main floor will serve as a free public space, featuring ample seating and direct access to our café and store. This airy new space will invite the city of Portland in to take a break and recharge.

A Window to the Museum. The Community Passageway will bridge our campus from east to west, offering passersby an experience with art and a glimpse of what’s inside.

Fresh Perspectives on Art. The new Grand Pavilion Gallery, showcasing exciting rotations of art, such as the Museum’s extensive collection of 20th century sculpture, will become an epicenter of activity—a place for interaction and performance, to access the new outdoor Jubitz Terrace, or simply for basking in the light streaming through the gallery’s wall of west-facing windows.

Rothko Pavilion renderings courtesy of Hennebery Eddy Architects.

Restful Spaces. The Overlook Gallery on the third floor will offer a welcome place to pause and rest. Guests moving between the Arlene and Harold Schnitzer Center for Northwest Art and the Jubitz Center for Modern and Contemporary Art can sit and recharge while enjoying a view of the Park Blocks or down into the Grand Pavilion Gallery below.

Outdoor Plazas, Terraces, and Expanded Store and Café. New plazas on both the West and East sides offer central, accessible, and beautiful entry points to the Museum. The expansive West Plaza will connect with the Pavilion, store, and café. The Jubitz Terrace on the second floor will offer elevated views of the South Park Blocks to the east, and the westfacing terrace on the fourth floor of the Pavilion overlooks the surrounding neighborhood on Southwest 10th Avenue. Additionally, the Museum café and store will be larger, offering a new modern shopping experience and a flexible kitchen and bar area.

New Art Experiences. Crossing over the Community Passageway to the Crumpacker Center for New Art, visitors will find an expansive new special exhibition space. The Center will offer the Museum a new dedicated space for dynamic exhibitions of cutting-edge art, while the Library will be relocated to the first floor of the Mark Building.

A Destination for Film & New Media. We will expand ways of seeing through film, television, virtual and augmented reality, and audio, welcoming audiences to engage with works as both art and entertainment. On the lower level, the Blair Family Commons, featuring new art viewing spaces and concessions along with the Whitsell Auditorium, will become the new destination for PAM CUT // Center for an Untold Tomorrow, and more galleries throughout the Museum will showcase media arts and storytelling.

In addition to these highlights, there will be new elevators, push-button doors, and genderneutral restrooms. In all, we are adding or renovating 95,000 square feet. This project affirms our commitment to creating spaces that are easy to access, connecting all people with art experiences that broaden our perspectives. It also affirms that downtown Portland and our cultural district on the South Park Blocks are vital to the strength of our city. Reflecting shared community values of transparency, accessibility, and inclusivity, the project will be a cornerstone in our city’s revitalization.

The Museum intends to remain open during construction, though access to exhibition and permanent collection galleries will be affected. We are committed to keeping members and visitors updated throughout the construction process. Keep an eye out here, on our website, and in our email newsletters for current visitor information.

OUR EVOLVING

CAMPUS

Ever since the Museum’s Main Building opened in 1932, our campus has grown and expanded to meet the needs of the community. While each addition and expansion served its original purpose, over time they also introduced new challenges as the usage of the buildings evolved.

1892

Left to right: Museum founders Henry W. Corbett (1827-1903), Winslow B. Ayer (18601935), Henry Failing (1834-1898), William M. Ladd (1826-1893).

Museum

Portland Art Museum founded.

1905expands to building at Southwest 5th Avenue and Taylor Street.

Museum’s main building, designed by Portland architect Pietro Belluschi, opens on the Park Blocks in the center of the city.

1939

A generous gift during the height of the Depression allows the Museum to build the Hirsch Wing, doubling the size of the gallery space.

1970

Belluschi partners with ZGF to complete his vision, building the Hoffman Wing—adding classroom and studio space, a sculpture mall, and an auditorium.

2005

Masonic Temple (purchased in 1992) renovation transforms it into the Mark Building—featuring Jubitz Center for Modern and Contemporary Art, Fields and Kridel ballrooms, Meier Wing, and Crumpacker Library.

ACCESSIBILITY & COMMUNITY

The Portland Art Museum has been planning for the Rothko Pavilion since 2012 and has solicited and received feedback from a range of stakeholders, staff, and community members. This process has allowed the architects and designers the opportunity to evolve the design not only to meet the needs of a wide range of users, but also to uplift and center visitors and community members who have previously been excluded.

Among the groups and constituents who have been involved in feedback and approvals are the Museum’s Equity Team, its Accessibility Advisory Committee, Portland’s City Council and Historic Landmarks Commission, elected officials, and many community and cultural organizations. In addition, for this project the Museum convened an Accessibility Advisory Task Force, which has provided invaluable guidance and consultation.

At its core, the Rothko Pavilion project does more than connect two buildings. At every stage, planners have worked to make the

Museum as accessible and inclusive as possible, while also meeting the challenge of merging two aging and historic buildings. The architects integrated Universal Design principles to ensure that all people, regardless of their individual capabilities, will enjoy ease of access throughout the Museum’s art exhibitions and programmatic spaces. This resulted in a wonderful design that centers the community and engages passersby with art and programs inside the Museum. Improvements to accessibility range from small gestures such as widening sidewalks, push-button doors, and easy-to-find ramps, to massive investments like gender-neutral bathrooms on all floors, two new elevators, and an open-air passageway that provides improved access to public transportation, including the popular Streetcar and the Jefferson Street bus transit corridor.

Not only will navigating the Museum be more friendly to visitors using mobility devices or who are blind or have low vision, the art and galleries will be more accessible in that they will be more

intuitive to find, explore, and enjoy. The singular point of entry and circulation paths will allow families and school visits to see more of the Museum in a shorter amount of time and allow groups with access needs to stay together for the duration of their visit.

The Rothko Pavilion also creates seamless access around Portland’s Park Blocks and Cultural District through the open-air community passageway that connects Southwest 10th Avenue to Southwest Park Avenue. The glass pavilion and passageway will also offer passersby direct, free access to art and beauty.

Rothko Pavilion renderings courtesy of Hennebery Eddy Architects.

HITO STEYERL: This is the Future

FEBRUARY 11 – MAY 27, 2023

Main Building, Floor 2

These are documentary images of the future.

The Portland Art Museum presents the U.S. premiere of Hito Steyerl’s multimedia installation This is the Future, a work that depicts a vibrant, imaginary garden brought to life with video projection and sculpture. Steyerl is one of today’s foremost artists who probe the complexities of the digital world. Throughout her career, she 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. The exhibition opens with a short film featuring bright colors and fluid, digitally disrupted images. We meet Heja, an incarcerated woman who captures airborne seeds on wadded-up paper to cultivate a garden in her cell. She must protect it from the prison guards, so she hides it in the future, where her plants evolve through the predictive powers of the neural network. The plants become potent remedies for a range of today’s social and psychological ailments, from alleviating social media addiction to resisting

the culture of overworking. Interspersed with Heja’s story, the narrator—the voice of an AI neural network—ponders humanity’s desire to see and control what is yet to come, ultimately reminding us that despite thousands of years of predictions, no human can escape the inevitability of death. “Entering the future is a massive health hazard,” according to the narrator. The upbeat tone recalls a corporate branding pitch, where crisp confidence combined with spectacular sights and sounds become seductive marketing appeals for harmful products.

(roo'dər-əl) n.

The film sets the stage for Power Plants, a series of video sculptures recently acquired by the Museum through the Contemporary Collectors Circle initiative. Multiple LED screens mounted on steel armatures host colorful and morphing imagery generated by

Hito Steyerl, exhibition views n.b.k., 2019: Hito Steyerl, This is the Future, 2019; Power Plants 2019. Courtesy of the artist; n.b.k.; Andrew Kreps Gallery; Esther Schipper. Photo © n.b.k. / Jens Ziehe.

Not about what it will bring, but about what it is made of.

ru·der·al

A plant thriving in disturbed areas. From Latin rūdus, rūder-, rubble, broken stones. These floral productions flourish in triumph, upon the ruins of digital disruption.

a neural network that predicts a future type of plant based on machine learning of thousands of images of plants. Short texts describe the healing properties of the plants—which seem to grow out of a rocky landscape indicative of the devastating climate crisis—intended to be future remedies for contemporary social, political, ecological, and technological ills.

For Steyerl, This is the Future offers 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.

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

HITO STEYERL

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, the Artist Fund, and Exhibition Series Sponsors.

This is the Future

AN ARTIST TALK WITH HITO STEYERL

FEBRUARY 11, 2023, 2 P.M.

In This is the Future, Hito Steyerl combines storytelling, video projection, sculpture, and spatial intervention to envision a potential future of empowered plants evolving through artificial intelligence. Join us for this opening talk, where Steyerl looks more closely at how so-called AI art has regressed in the meantime.

Co-sponsored by Reed College Art Department and the Douglas F. Cooley Memorial Art Gallery.

TOP: Hito Steyerl, This is the Future, 2019, single channel HD video, color, sound, 16 min. Image CC 4.0 Hito Steyerl. Image courtesy of the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin. BOTTOM: Hito Steyerl, exhibition view n.b.k., 2019: Hito Steyerl, This is the Future 2019; Power Plants, 2019. Courtesy of the artist; n.b.k.; Andrew Kreps Gallery; Esther Schipper. Photo © n.b.k. / Jens Ziehe.

MASTERWORKS | PORTLAND: BOTTICELLI

THROUGH MAY 7, 2023

The Portland Art Museum is pleased to present Sandro Botticelli’s masterwork Madonna of the Magnificat, a tondo (round painting) of the Madonna and Child with angels. This rarely seen work is a variant of the artist’s celebrated painting in the Uffizi Gallery in Florence, considered one of the finest Madonna and Child paintings of the Renaissance and a high point of Botticelli’s career.

Sandro Botticelli (1445–1510) was a leading artist of the Renaissance, a moment of tremendous creativity when artists and thinkers drew inspiration from the classical past and adopted a more humanistic approach. First apprenticed to a goldsmith, Botticelli later joined the workshop (bottega) of painter Filippo Lippi (ca. 1406–1469), who was praised by his contemporaries for his elegant compositions and skillful deployment of color. Over many years, Botticelli learned the methods of panel painting and fresco and absorbed Lippi’s refined

style and proportions, attentiveness to fabrics, and one-point perspective. By 1470, Botticelli had his own independent practice and was gaining recognition for his work. He combined Lippi’s linear elegance with a more vigorous, sculptural form; a greater naturalism graces his art, always tempered by a search for ideal beauty.

Botticelli’s depiction of the Madonna and Child with angels is a masterpiece of both composition and symbolism. Echoing its tondo shape, Madonna of the Magnificat (ca. 1483) exhibits a series of harmonious curvilinear forms. The Madonna gracefully bends forward over Christ, embracing him with her arms and torso, while at the left, a standing angel dressed in rich carmine leans lovingly over two kneeling angels, enclosing them with his right arm.

The dome of heaven, flecked with gold stars, ensconces the holy scene in a perfect circle. The rose motif of the Madonna’s throne, the fruit in her left hand, and the window behind

her further the symphony of round shapes. Madonna of the Magnificat was formerly in the collection of the late Paul Allen, who acquired it in 1999. Other masterpieces from Allen’s collection were featured in Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, which debuted at the Portland Art Museum in October 2015. This painting appears at the Museum on special loan from a private collector, presenting an extraordinary opportunity for the public to experience this superb artwork by an icon of the Italian Renaissance.

Organized by the Portland Art Museum and curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings. Supported in part by Ann Flowerree, the William G. Gilmore Foundation, the Laura and Roger Meier Family, The James F. and Marion L. Miller Foundation, and Exhibition Series Sponsors.

Sandro Botticelli (Italian, 1445–1510), Madonna of the Magnificat, ca. 1483. Tempera, oil, and gold on wood panel. Private collection. Image courtesy of Christie’s.

DAKOTA MODERN: The Art of Oscar Howe

CONTINUING THROUGH MAY 14, 2023

Continuing this spring, the Portland Art Museum presents the first major retrospective on Yanktonai Dakota artist Oscar Howe (1915–1983). Organized in partnership with the Smithsonian’s National Museum of the American Indian, Dakota Modern: The Art of Oscar Howe features over 60 paintings by Howe loaned from museums, historical institutions, and private collections from across the United States, including many that have never been exhibited publicly until this project. Historic photographs, ephemera, film, and graphics provide context and biographical dimension to the presentation.

This retrospective exhibition traces the arc of Oscar Howe’s artistic development, beginning with early conventional work created while he was in high school in the 1930s and continuing through the emergence of his own innovative and abstract approach to painting in the 1950s and 1960s. One of the 20th century’s most innovative Native American painters, Howe committed his artistic career to the preservation, relevance, and ongoing expression of his Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówin (Sioux) culture and aesthetics—to him there was no contradiction.

Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style that limits artistic expression. His legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

A multi-authored catalog edited by Kathleen Ash-Milby, Portland Art Museum Curator of Native American Art, and scholar Bill Anthes accompanies the exhibition and is available in the Museum Store.

Organized by the Smithsonian’s National Museum of the American Indian and the Portland Art Museum. Curated by Kathleen Ash-Milby. Support for the Portland Art Museum installation provided by the Institute of Museum and Library Services (grant MA-249741-OMS-21), Bank of America Foundation, Ameriprise Financial, The Standard, Greg and Cathy Tibbles, The Boeing Company, Ed Cauduro Fund of the Oregon Community Foundation, William G. Gilmore Foundation, Melvin Mark Brokerage Company, Caryll and Norman F. Sprague, Jr. Foundation, Pat and Trudy Ritz, and Bob and Liz Warren.

Symposium: Breaking the Chains: The Legacy of Oscar Howe

FRIDAY–SATURDAY, APRIL 14–15, 2023

In this one-and-a-half-day event, artists will join academic and community scholars to further explore ideas about Oscar Howe’s life and legacy introduced in the Dakota Modern exhibition and book. Speakers will discuss the role of cultural authority in Howe’s practice as well as his art in relation to American politics. Other topics include the impact of Howe’s work as an educator through the summer workshop for Native students he founded, and the ongoing expression of his legacy through the work of Dakota and Lakota artists today. The symposium begins with a keynote lecture by Lakota artist Dyani White Hawk on April 14.

Ticketing information, speakers, and other details are listed on the exhibition website.

BOTTOM LEFT: Oscar Howe (Yanktonai Dakota, 1915–1983), Fighting Bucks 1967. Casein on paper, 20 1/4 x 26 15/16 in. National Museum of the American Indian 27/0217; TOP RIGHT: Oscar Howe in his studio, ca. 1968. Oscar Howe papers, Richardson Collection, Archives and Special Collections, University Libraries, University of South Dakota; BOTTOM RIGHT: Dyani White Hawk, courtesy of the artist.

JEFFREY GIBSON: To Name An Other

FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION

THROUGH FEBRUARY 26, 2023

BY KATHLEEN ASH-MILBY, CURATOR OF NATIVE AMERICAN ART

In conjunction with Jeffrey Gibson: They Come From Fire, the Museum is presenting a special installation of Gibson’s ongoing performance work To Name An Other, on loan from the collections of Jordan D. Schnitzer and his Family Foundation. The multimedia artist created To Name An Other in 2019 for the Smithsonian’s National Portrait Gallery as part of a performance-based art program, “IDENTIFY,” created to address the limited scope of the museum’s historical collections by recognizing individuals and communities who have been underrepresented or left out. Since its debut, To Name An Other has been performed in conjunction with exhibitions at the Esker Foundation (Calgary, Alberta, Canada), New Museum (New York City), and SITE Santa Fe (Santa Fe, New Mexico).

Composed of 50 pairs of matching synthetic tunics and hide drums, even outside of performance this colorful and dynamic work centers community, empowerment, and visibility. Each tunic and drum is emblazoned with phrases that challenge limiting ways we identify ourselves and each other, and surface how these ideas interface with expectations surrounding race and gender. Phrases such as “THEY CHOOSE THEIR FAMILY” and “HE DOES NOT GIVE UP,” call out for attention in bright, neon colors combined with repeating, dazzling design on the tunics. The phrases are also boldly printed on each of the hide drums.

For previous performances, Gibson (born 1972) who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, reached out to local Native American, BIPOC, and queer communities, inviting participation. At each location, he then held a daylong workshop with participants to introduce them to

the project and to give them an opportunity to talk about using their voice in the performance. Although the final format of each performance was slightly different due to the various locations, at each event the participants wore the tunics and played the drums as they entered the performance space, one by one. They walked up to a microphone and stated the phrase on the tunic they chose to wear. Some sang the words, others spoke or shouted, many with emotion in their voices. The gallery video gives visitors an opportunity to view the documentation of these performances that brought all of the participants at each location together as a powerful statement, amplifying their voices and right to be seen.

At the Portland Art Museum, the opportunity to exhibit To Name An Other came at an auspicious time. Like They Come From Fire, this work focuses on Gibson’s desire to engage and foreground community, creating art that resonates with the challenges we face together as a society despite our differences.

From the Collections of Jordan D. Schnitzer and His Family Foundation. Organized by the Portland Art Museum and curated by Kathleen Ash-Milby, Curator of Native American Art.

LEFT IMAGE: Jeffrey Gibson, To Name An Other, 2019 – ongoing, Courtesy of the Artist and Kavi Gupta, Chicago, IL, SITE Santa Fe Commission, Photo by Shayla Blatchford; RIGHT IMAGES: Jeffrey Gibson, To Name An Other 2019; 50 garments, polyester, nylon thread, 50 drums, wood, deer hide, acrylic ink. Installation views as part of the exhibition Time Carriers Esker Foundation, 28 September to 20 December 2019. Photos by: John Dean.

JEFFREY GIBSON: They Come From Fire

EXTENDED THROUGH APRIL 30, 2023

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire transforms the exterior windows on the facade of the museum’s main building as well as the two-story interior Schnitzer Sculpture Court. This dynamic work celebrates Portland’s Indigenous history, presence, and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, and LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park Blocks in front of the Museum.

Gibson is forging a multifarious practice that redresses the exclusion and erasure of Indigenous art traditions from the history of Western art as it explores the complexity and

fluidity of identity. He was named a MacArthur Foundation Fellow in 2019 for his work “[m] elding indigenous North American materials and forms with those of Western contemporary art to create a new hybrid visual vocabulary and prompting a shift in how Native American art is perceived and historicized.” Gibson’s artworks foreground affinities among patterns, colors, and materials long used in Native American art and those characteristic of contemporary Western and global art traditions.

They Come From Fire was created in conjunction with Dakota Modern: The Art of Oscar Howe, the Museum’s major survey of Dakota modernist Oscar Howe (see page 15). Gibson is an heir to Howe’s legacy, breaking down barriers with his dynamic work that combines graphic abstraction and

social commentary with Native American art conventions, proving that it is possible to maintain and honor one’s Native identity while having mainstream success. Together with our presentation of Gibson’s performancebased work To Name An Other (see facing page), integral community partnerships, and public programs, these exhibitions amplify the contributions and perspectives of both Howe and Gibson, as well as the many Native American artists and communities living and working in the Pacific Northwest.

Gibson’s They Come

REBECCA JACOBSON, PORTLAND MONTHLY

Organized by the Portland Art Museum and curated by Kathleen Ash-Milby, Curator of Native American Art. The fabrication of They Come From Fire supported by the National Endowment for the Arts and Sikkema Jenkins & Co.; exhibition and program support provided by the Institute of Museum and Library Services (grant MA-249741-OMS-21), The Broad Art Foundation, Bank of America Foundation, Ameriprise Financial, The Standard, Greg and Cathy Tibbles, The Boeing Company, the Jordan Schnitzer Family Foundation, the Miller Meigs Endowment for Contemporary Art, the OCAC Visiting Artist Fund, and the Museum’s Artist Fund.

“Jeffrey

From Fire is a sprawling celebration of Oregon’s Indigenous communities, past and present.”

TOP LEFT: Jeffrey Gibson, They Come From Fire (detail), 2022, site-specific installation, Portland Art Museum. Photo courtesy of Bullseye Glass Co. TOP RIGHT: Jeffrey Gibson, They Come From Fire (detail), 2022, site-specific installation, Portland Art Museum. Photo by Dale Peterson; BOTTOM LEFT: Jeffrey Gibson, TIMELINE (detail), 2022, sitespecific installation, Portland Art Museum. Photo by Dale Peterson.

TRACES

CLOSING APRIL 23, 2023

Jubitz Center for Modern and Contemporary Art, Floor 4

Traces presents poetic reflections on memory in contemporary art, showcasing seven international artists who evocatively capture the traces of events, people, or places, as remembrances of real experiences or projections of imagined ones.

In Cornelia Parker’s Unsettled (Jerusalem), discarded pieces of wood from the streets of that Middle Eastern city hover just above the gallery floor, conjuring thoughts of the region’s conflict as well as feelings of society’s precarity. In Huma Bhabha’s Reconstructions series of prints, the artist draws on top of photographs of architecture and landscape that she took on a visit to her home country of Pakistan. Theaster Gates uses roofing materials like tar, bitumen, copper nails, and wood to connect the trade learned from his father to his pursuit of abstract painting.

Anne Chu, Nohemí Pérez, and Maja Ruznic depict the figure, and each uniquely attests to the way memories are indelibly centered on human action and our perceptions of each other. Tatiana Trouvé explores memory’s fallibility in two large drawings that consider the sense of loss when memory fails.

Curated by Sara Krajewski, the Robert and Mercedes Eichholz Senior Curator of Modern and Contemporary Art. Supported in part by Exhibition Series Sponsors.

TOP LEFT: Installation view of Traces; BOTTOM RIGHT: Maki Haku (Japanese, 1924–2000), Fuji san - 12, 1989, color woodblock print with embossing on paper, The Carol and Seymour Haber Collection, Portland Art Museum, Portland, Oregon, 2002.9.1.

HUMAN | NATURE 150 Years of Japanese Landscape Prints

THROUGH MAY 7, 2023

Jubitz Center for Modern and Contemporary Art, Floor 2m

Human | Nature explores Japan’s journey with and through nature during the 19th century and into the modern age through the lens of landscape prints, revealing the at once reverential and playful spirit in which people held the trees, mountains, and rivers around them. “Human imagination has been shaped by nature and the landscape,” exhibition curator Helen Swift told The Wall Street Journal in a featured review. “But it also works the other way.”

Selected from the Portland Art Museum’s permanent collection, the exhibition includes 19thcentury works by world-renowned print artists Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858), who mirrored and molded people’s relationship with nature, inviting them to roam remote mountain passes interspersed with vertiginous waterfalls, or reflect on the lyrical beauty of legendary meisho (famous places). Later woodblock prints reveal that landscape continued to play a pivotal role in the lives and identity of Japanese people into the 20th century: Nature wreaked havoc on human life in the Great Kantō Earthquake of 1923, as dramatically visualized in prints by Nishizawa Tekiho (1889–1965) and his colleagues, but it also offered sites of enduring cultural memory and solace in a hectic modern age. A selection of prints by American and Japanese artists working in the Pacific Northwest, including Gordon Gilkey (1912–2000) and Sekino Jun’ichirō (1914–1988), are also showcased in this exhibition, suggesting how the human affinity for nature transcends time and place and resonates with us here and now in Portland.

Organized by the Portland Art Museum and curated by Helen Swift, The Japan Foundation Assistant Curator of Japanese Art. Support provided by the Japan Foundation.

GUILLERMO DEL TORO: Crafting Pinocchio

JUNE 10 – SEPTEMBER 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. Now in theaters and streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was 10 years in the making, and conceived for international audiences of all ages. The critically lauded film showcases the incredible passion

that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation. This exhibition is coming to Portland from The Museum of Modern Art (MoMA) in New York, where it is on view through April 15, 2023.

Showcasing the collaborative art, craft, and storytelling of the film, the exhibition 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 stop-motion 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, a city increasingly recognized as a creative hub of the artform.

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 classes, programs, and a screening series celebrating the art of stopmotion animation.

COMING THIS SUMMER!

The exhibition is organized by Ron Magliozzi, Curator, and Brittany Shaw, Curatorial Assistant, with Kyla Gordon, Research Assistant, Department of Film, The Museum of Modern Art. Support for the exhibition provided by Cooper DuBois, Mary and Ryan Finley, the late Dan Wieden and Priscilla Bernard Wieden, and Exhibition Series Sponsors.

TOP: Guillermo del Toro on the set of Guillermo del Toro’s Pinocchio 2022. Image courtesy Jason Schmidt/Netflix; BOTTOM: Mackinnon & Saunders. In progress Pinocchio Production Puppets at the ShadowMachine workshop. Guillermo del Toro’s Pinocchio, 2022. Image courtesy Netflix; RIGHT: Mackinnon & Saunders. Oversized Cricket Production Puppet with rigging 2019-2020. 3D printed resin, steel, silicone, paint, printed eyes. 3 x 4 x 11 in. (7.6 x 10.2 x 27.9 cm). Guillermo del Toro’s Pinocchio, 2022. Image courtesy Netflix.

BLACK ARTISTS OF OREGON

AUGUST 2023 – FEBRUARY 2024

Black Artists of Oregon, highlighting and celebrating the work of Black artists in and outside of the Portland Art Museum collection, will serve to deepen awareness of the talented artists that have shaped and inspired artists regionally and nationally. The exhibition will be the first of its kind to consider the work of Black artists collectively in Oregon, often underrepresented and unacknowledged. Beginning in the 1920s through today, the exhibition captures the African American experience particular to the Pacific Northwest. Among those included in the exhibition will be Al Goldsby, Thelma Johnson Streat, Isaka Shamsud-Din, Ralph Chessé, Robert Colescott, Arvie Smith, Shedrich Williames, Harrison Branch, Adriene Cruz, Charlotte Lewis, and Carrie Mae Weems.

This exhibition will be guest curated by artist Intisar Abioto. In Abioto’s own artistic practice, she has been documenting Black figures in Portland since 2013, through interviews, photography, research, and performance, filling the region’s own historical gaps.

Abioto is working with The Numberz FM, the Museum’s Community Partner-in-Residence, on a podcast series to be streamed through both The Numberz’s and the Museum’s Art Unbound podcast programs. Leading up to the exhibition and ongoing through the exhibition, this conversation series will discuss a range of topics including the scope of the exhibition, intergenerational conversations with the artists in the exhibition, and oral histories from Black elder artists.

Guest curated by artist Intisar Abioto. The Museum’s Re:Imagine Artist Fund is providing the seed funding to Abioto for her research and planning. Support provided by the Institute of Museum and Library Services, Meyer Memorial Trust, Terra Foundation for American Art, The Ford Family Foundation, the Ed Cauduro Fund of the Oregon Community Foundation, the Oregon Heritage Commission, Bonhams, and The Arlene and Harold Schnitzer Endowment for Northwest Art.

AFRICA FASHION

NOVEMBER 2023 – FEBRUARY 2024

Africa Fashion, a major exhibition from the Victoria and Albert Museum (V&A) in London, will celebrate the richness and diversity of African creativity, cultures, and histories, using fashion as a catalyst. Spanning mid20th-century to contemporary designs, Africa Fashion explores the vitality of a fashion scene as dynamic and varied as the continent itself.

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The irresistible beauty, 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-20th-century African designers—Shade Thomas-Fahm, Chris Seydou, Kofi Ansah, Naïma Bennis, and Alphadi. Designs from influential contemporary African fashion creatives, including Imane Ayissi, IAMISIGO, Moshions, Thebe Magugu, and Maison ARTC, appear alongside these historical works, on display for the first time in Africa Fashion Exhibition organized by the Victoria and Albert Museum, London, where it is on view through April 16, 2023. 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 in part by Exhibition Series Sponsors.

Carrie Mae Weems (American, born 1953), Untitled (Woman with daughter), from the series Kitchen Table, 1990, gelatin silver prints, each image/sheet: 27

in x 27 1/4 in, Gift of the Contemporary Art Council. Portland Art Museum, Portland, Oregon, 94.19a-c; BOTTOM IMAGE: Mbeuk Idourrou collection, Imane Ayissi, Paris, France, Autumn/Winter 2019. Photo: Fabrice Malard / Courtesy of Imane Ayissi.

2021–2022 YEAR IN REVIEW

As the Portland Art Museum continued to rebound from the effects of the pandemic years while also experiencing record-breaking attendance levels, the fiscal year ending June 30, 2022, was largely a success for the Museum. A strong slate of special exhibitions and programs, coupled with pent-up demand, resulted in more than 300,000 visitors experiencing Queen Nefertari’s Egypt; Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900; Venice VR Expanded; and Frida Kahlo, Diego Rivera, and Mexican Modernism, among many others.

While attendance is a vital measurement of a vibrant and thriving museum, there are many other factors that contribute to our definition of a successful year. These factors include considering whether the exhibitions, programs, and new acquisitions are relevant and reflective of the community and asking ourselves if we are fostering long-term community partnerships. Are we stewarding our finances responsibly for the current moment and the future? And how are we supporting our staff who help deliver on our mission? We thank our members for your support in allowing us to attend to all of these important success factors for our community.

Exhibitions and Programs

This past year was filled with exhibitions and programs that not only drove attendance, but conveyed the Museum’s continuing commitment to uplift work by artists who have historically been absent from our spaces, as well as our goal of celebrating and centering artists who live and work in our community. In addition to the exhibitions mentioned earlier, many smaller scale and collaboratively organized exhibitions like the AUX/ MUTE gallery, Perspectives, and Sharita Towne: A Black Art Ecology of Portland highlight the new and exciting ways that Museum is working— approaching partner-driven projects with a willingness to experiment and take risks.

PAM CUT // Center for an Untold Tomorrow is living this same ethos in not just

its programming, but the name itself. This past year marked a new era for the former Northwest Film Center as PAM CUT, whose mission it is to change for whom and by whom stories in all mediums are told. The third annual Cinema Unbound Awards in March offered another extension of this mantra by honoring local and national boundary-breaking artists.

In-gallery performance and virtual reality also played a dynamic role in our offerings this past year, with Takahiro Yamamoto’s dance installation Opacity of Performance exploring the complex dynamics between observers and artists, and Venice VR Expanded and VR to Go from PAM CUT expanding our worlds and minds through technology.

In addition to acquiring art (see page 26), the Museum marked a long-overdue milestone by deaccessioning nine objects in the Native American Art collection and returning them to their rightful owners. Deaccessioning means to officially withdraw artworks that are part of the Museum’s permanent collection. These nine deaccessioned objects are culturally significant and necessary for ceremonial purposes for the Tlingit & Haida Indian Tribes of Alaska, specifically the Tlingit clan based in Wrangell, Alaska.

Community Partnerships

The exhibitions that we show, the art on our walls, and the experiences that we offer provide an amazing opportunity for deeper connection and reflection. That is where our work with community partners, educators, students, and artists really shines. The murals that were created during our Mexican Modernism exhibition; the dual-language, hand-drawn activity book; the classroom tools and videos to accompany field trips—all are ways the Museum goes beyond to inspire a love of learning and build human connections through art.

Our public program offerings had an incredibly dynamic year, rebounding from the full pandemic year to 100 programs and nearly 11,000 participants. The entire Museum staff was elated to see students back in the galleries, with 17,500 students visiting as part of a school or college group. In all, more than 45,000 youth and students visited the Museum for free last year, and many educators used our robust digital and print resources to extend and deepen students’ learning through classroom lessons before and after their visits. The Numberz FM radio station continued to be in residence at the Museum, broadcasting and building community through on-air programs, an art gallery, a bodega, and more.

This past summer also saw the return of a wide range of student programs like Portland State’s Middle East Partnership Initiative and summer campers with Centro Cultural de Washington County and Portland Public Schools. Also this past summer, the Portland Parks Foundation’s Paseo event was able to fully launch in the South Park Blocks outside the Museum with performances, street vendors, and art making. This year we were able to reintroduce our quarterly Miller Family Free Days and welcomed over 11,500 visitors, including a special showcase of student visual and performing arts from Portland Public Schools, Forest Grove High School, and the Latino Network.

Finance Report

The year ended June 30, 2022, was a mixed year financially for the Museum. While near record attendance meant excellent admissions, membership, and store revenue, our earned revenue from event rentals continued to suffer from the lingering effects of the pandemic. When local restrictions were lifted, ticket sales rose even higher than before the pandemic, but bookings for events still lagged at less than 20 percent of normal. The Museum was able to weather the additional revenue losses through loans from the federal Paycheck Protection Program and other funding under the CARES Act, as well as generous exhibition and unrestricted donations from individuals, foundations, and corporations. Membership levels dipped while we were closed but have seen a remarkable rebound since reopening in July 2021, and there are now more than 22,000 member households.

MUSEUM WELCOMES NEW CURATORIAL AND COMMUNITY PARTNERSHIPS FELLOWS

In 2022, the Museum welcomed two new Curatorial and Community Partnerships Fellows, Erin Grant and Teena Wilder, with major funding from the Institute of Museum and Library Services (IMLS) and the Art Bridges Foundation, respectively. Both Grant and Wilder bring a community-centered practice and interdisciplinary approach in furthering our commitment to joint Curatorial and Learning and Community Partnership efforts. Their unique positions in this field enrich the exhibition experience and deepen the work of community partnerships, leading the direction of museums today.

Erin Grant (The Colorado River Indian Tribes) joined us as the IMLS Curatorial and

Community Partnerships Fellow in advance of Dakota Modern: The Art of Oscar Howe and Jeffrey Gibson: They Come From Fire. Among her first projects, Grant collaborated closely with artist Jeffrey Gibson to organize a threeday photo shoot that captured the portraits of more than 130 mostly Indigenous, BIPOC, LGBTQ+, and artist community members. These 65 portraits (some as individuals, some in small and large groups) are now stitched together to make up a massive community portrait wall that is a central element of They Come From Fire, Gibson’s site-specific installation on view through April 30, 2023.

This kind of community-based exhibitionmaking and related programming is increasingly

part of how museums like ours are trying to better represent and connect diverse communities among our staff, visitors, partners, and the art we show in our spaces. All these elements are interconnected and aim to blur the boundaries between work happening inside and outside the museum’s walls.

Teena Wilder is part of the inaugural 2022 Art Bridges Fellows Program. This fellowship corresponds with the Portland Art Museum’s selection as a new Art Bridges Foundation cohort museum (the first one in the Pacific Northwest). Wilder is helping lead efforts for the Portland Art Museum to develop stronger relationships with museums and arts organizations in Oregon and Southwest Washington through potential collections sharing, artist projects, and staff professional development.

For the Fellows Program, Art Bridges states that its foundational work will “establish deep career pathways for historically underrepresented groups in the arts and offer new models for fellowship roles within museums.” During this three-year fellowship, Wilder will engage in multiple cross-departmental conversations, while building relationships for the Museum’s cohort program across the region.

TEENA WILDER, ART BRIDGES FELLOW

“The fellowship gives me an opportunity to explore ways in which an art museum can be community-centered and driven by values of equity, creativity, accessibility, and education.”

Erin Grant, IMLS Curatorial and Community Partnerships Fellow, and Teena Wilder, Art Bridges Fellow, in front of an exterior timeline of Indigenous history in Jeffrey Gibson’s They Come From Fire created with Grant’s collaboration.

BELOVED BOUGUEREAU PAINTING NATURE’S FAN GIVEN TO MUSEUM

For many visitors to the Museum’s European galleries, one favorite painting to return to and appreciate is William Adolphe Bouguereau’s 1881 painting Nature’s Fan. The skillfully rendered depiction of a young woman and a small child playing in the clearing of a wooded area is an outstanding example of 19th-century French Neoclassicism.

As a leading master of Neoclassicism, Bouguereau was among the most popular and successful French artists of his time. Crowds flocked to the annual Salon exhibitions in Paris to marvel over his impeccable technique and impossibly smooth surfaces, which were known as a “licked finish” because all presence of the artist’s hand has been removed, or licked clean.

In October 2022, Nature’s Fan was given to the Museum’s collection by supporter and philanthropist Helen Stern. The Bouguereau painting had been displayed on long-term loan from Helen and her late husband, Jerome (Jerry) Stern, who passed away in 2015. The Sterns had

acquired Nature’s Fan after it was bequeathed to them in 1976 by Kathryn Kuhlman, an influential evangelical preacher and faith healer, in recognition of the kindness they had shown to Kulhman’s sister, who had once served as the Sterns’ babysitter.

Helen Stern talked about the extraordinary backstory of the Bouguereau painting with her grandson Jonathan Singer for a 2019 episode of the Portland Art Museum’s podcast, Art Unbound How the painting came into the Stern family is an engrossing, improbable tale involving a prominent Jewish family in Portland, an evangelical preacher, a babysitter named Mrs. Parrot, and much more.

The story of what happened after the Sterns acquired Nature’s Fan is equally compelling: In the podcast conversation, Mrs. Stern credits the Bouguereau painting with turning the couple into art collectors and art lovers, reeling off the names of Northwest artists whose work she has appreciated and collected.

“Art collecting is another form of education,” said Helen Stern in the podcast. “You look, you observe, you study, you read about it. It makes you aware. It makes you aware of the beauty in this world.”

And when it came time to find a new home for their Bouguereau, the priority was clear for the Sterns: “I felt it deserved to be in a public place where it would be cared for properly—and many, many people could enjoy it,” said Mrs. Stern.

“The painting came to us unexpectedly, but our love for its magnificence grew even stronger as years passed and we wanted to share it with more people,” Helen Stern said at an event in October marking the gift to the Museum’s collection.

“There are many great museums where this painting could be displayed; it is a great feeling to know that it will always be here in Portland.”

Listen to the Art Unbound conversation about this painting and its amazing story at pam.to/NaturesFanPodcast.

Helen Stern (sixth from right) surrounded by her family, including grandson Jonathan Singer (standing behind Mrs. Stern), at the October 2022 celebration of her gift to the Museum.

RECENT ACQUISITION HIGHLIGHTS

The Portland Art Museum has continued to grow our collections through gifts and purchases, shaping growth in ways that align with our values of accessibility and inclusivity. We are grateful to generous Museum supporters who make this thoughtful stewardship possible.

Edouard Vuillard (French, 1868–1940), The Game of Checkers, 1899, color lithograph on paper, image: 13 1/4 x 10 1/2 inches. Funds Provided by the Graphic Arts Council, 2021.34.1.

The Game of Checkers is one of seven remarkable color lithographs by Edouard Vuillard acquired in fall 2021, thanks to the generosity of several museum donors. All seven prints were exhibited in our major exhibition Private Lives: Home and Family in the Art of the Nabis

Oki Toshie (Japanese, born 1976), Spring, 2010, Madake bamboo, rattan, and lacquer, 7 1/4 x 16 x 16 inches. Funds provided by the Asian Art Council and the Margery Hoffman Smith Fund, 2021.63.1.

Created by one of the few women bamboo artists working today, this powerful yet refined work of contemporary bamboo—praised by a Living National Treasure at the top of the field—is both sculptural and functional, and expands the Museum’s collection holdings in the fields of contemporary craft and design. This piece won the Hokkaido Governor’s Prize at the 50th Eastern Japan Traditional Craft Exhibition, 2010.

Julie Green (American, 1961–2021), An Embarrassment of Dishes, 2015 cobalt blue pigment, 7 Up and simple syrup, painted and kiln-fired on a 1961 set of Noritake inherited from the artist’s grandmother. Overall dimensions variable. Gift of Nancy and Theo Downes-Le Guin, 2022.13.1a-k.

An Embarrassment of Dishes is a repurposed Noritake dinnerware for 12, which the artist inherited from her grandmother. Green painted over the original prim pattern with flow blue pigment and in writing, adding confessions of awkward moments underneath each dinnerware object. An Embarrassment of Dishes is an invitation to recall one’s own moments, to share in their humor and commonalities, and to do so over the comfort of a gathering and meal. This is the first work by the artist to enter the collection.

Nohemí Pérez (Colombian, born 1962), Painting Number 1, from the series El Palmar, 2022, oil on canvas, 30 x 20 x 1.5 cm. Funds provided by Northern Trust Purchase Prize at EXPO Chicago 2022, Keith and Sharon Barnes, Mary and Don Blair, Diane and Herb Rankin, and Pat and Trudy Ritz, 2022.13.2.

The three works from Pérez’s Palmar series connect to the immense challenges of climate change and human displacement we face globally. The depiction of nature in the works as places of sublime beauty degraded by resource extraction and violence is a theme that resonates with viewers in her home of Colombia as well as ours here in Oregon. This acquisition continues to expand the representation of Latinx artists in our collection.

nykelle devivo (American, born 1996), the all of everything, 2018, from the series Flash of the Spirit, pigment print, 36 1/4 x 24 1/4 inches, Museum Purchase: Photography Fund, 2022.22.3.

This spectacular photographic self-portrait by nykelle devivo, who is covered in sparkling fabric while performing movements based on African and diasporic dances, demonstrates a desire to collapse time and space between the physical world and the spiritual.

Dan Friday (Lummi, born 1975), Sxwo’le Anchors, 2021, hand-blown glass 16 x 10 x 6 inches (each). Funds provided by the Native American Council 2022.12.1a, b.

These two glass Sxwo’le Anchors emerge from Dan Friday’s exploration of the shape of stone reef net (sxwo’le) anchors once used by the Lummi and other Coast Salish tribes for salmon fishing. Acquisitions such as these reveal the diversity and vitality of art from this region, which draws from sources from the deep past to the present.

EDUCATOR PROGRAMS DEEPEN ART LEARNING PARTNERSHIP WITH PORTLAND PUBLIC SCHOOLS

BY HANA LAYSON, PH.D., HEAD OF YOUTH AND EDUCATOR PROGRAMS

For more than 100 years, the Portland Art Museum and Portland Public Schools have collaborated to provide students with comprehensive arts education. This past September, the Museum was honored to host Portland Public Schools leaders and educators at two important programs. First, we welcomed 160 Visual and Performing Arts (VAPA) teachers to a full day of professional development, launching the district’s Master Arts Education Plan. It was the teachers’ first time together in person since the pandemic began, and the joy in the room was palpable.

“PPS VAPA cherishes our partnership with PAM because of the richness our educators

experience every time we offer professional development opportunities in conjunction with the museum,” Kristen Brayson, the Assistant Director for Visual and Performing Arts, shared. “Our teachers feel seen and heard in this space which is essential for making progress on our mission to provide culturally responsive arts education for all PPS students.”

The following week, PPS Superintendent Guadalupe Guerrero and his leadership team visited two exhibitions at the Museum: Perspectives and APEX: Sharita Towne & A Black Art Ecology of Portland. The Museum’s director, two curators, and Learning & Community Partnerships staff all welcomed them. But the star of the visit was, without a doubt, Joseph Blake, Perspectives artist and a brand-new second-grade teacher at PPS’s Sunnyside Environmental School. Blake walked the group through Perspectives, sharing his experiences of creating these powerful images of the 2020 Black Lives Matter protests in Portland.

Both APEX and Perspectives connect closely with the district’s ongoing work to address persistent achievement gaps for Black students within PPS. The leadership team approached these exhibitions as an opportunity to deepen understanding of the experiences of Black Portlanders and to consider how they can better support Black students and champion Black excellence. We are thrilled to share in this work with them, to contribute to meaningful learning experiences for both students and educators, and to advance racial equity in education.

Educator Programs are supported in part by the Ed Cauduro Fund of the Oregon Community Foundation, Louis and Virginia Clemente Foundation, FRAME, Robert Lehman Foundation, Oregon Community Foundation, The Reser Family Foundation, Barbara and Phil Silver, Joseph E. Weston Public Foundation of the Oregon Community Foundation, and the people of Portland through the Arts and Education Access Fund.

HeART of Portland

Oh! Creative.

We are excited to collaborate with PPS on the 2023 HeART of Portland visual and performing arts showcase, opening April 11, in full force for the first time since the pandemic began! Stay tuned to our website for details.

All photos by Karen Pride courtesy of

SHAPING DREAMS

Polymorf creators on Symbiosis, new media, and teaching for the future

PAM CUT // Center for an Untold Tomorrow debuted its first exhibition at its gallery at 934 SW Salmon Street on November 12, 2022. Hosting the U.S. premiere of Symbiosis, PAM CUT worked with Dutch collective Polymorf to introduce the first full-sensory storytelling XR experience to visitors with the use of haptic suits, soft robotics, smell, taste, and VR audiovisuals. Symbiosis was an immediate hit, selling out its three-month run shortly after opening.

In the most recent episode of the Art Unbound podcast, PAM CUT’s Director Amy Dotson asked the co-Directors of Symbiosis how they nurture the talents of their students during their day jobs as professors.

Amy Dotson: I know it is a hard question, but I think it helps, especially for folks that maybe are coming to this with a variety of different interests and backgrounds: I know you’re both

professors, as well. What do you talk to your students about when you talk about new media? How do you talk to them about what’s coming next and how they can get more involved?

As you know, the first time I did this piece, I did it with my 12-year-old son, and it blew his mind. And this is now what he wants to do when he grows up, because he saw in what you’re doing this symbiotic thing that was in the piece, with all of these disparate, different story elements, design elements, technology elements. I certainly think that with young people and media—and probably the folks that you’re working with—this is the norm, not the exception.

Marcel van Brakel: I think what I always say is to be ambitious. Because what I sense with my students is that they try to play safe in a way, because they think about, Where can I find a job? And how can I control it?

But I think it’s always very important, when we do a presentation, we start off with a slide of Peter Boonstra, that’s another member of Polymorf, he made a very beautiful small film

of his daughter dreaming, and you would see the rapid eye movement during the dream. And I think that’s so huge and important to kind of dream, especially as a young artist, and to do the most ambitious thing you can think of, and then just try to spark that into reality. Even though you have to compromise, it will still be unique and it will still be special, and it will still be important.

And another thing is that we moved more and more into speculative design. Because I think it’s really way more interesting to think about stuff that’s now in the labs; it’s almost there or not there, the stuff that’s kind of emerging, and to design with that and for that, because then you’re first. And it will give you a front supposition towards developing and also to kind of overthink what is waiting for us.

A lot of these technologies stay in the universities or they only get a medical application or purpose, but they’re so interesting to be used in other fields—in storytelling and all kinds of other design problems. So yeah: Get yourself informed on what’s out there, and dream as ambitious as you can, and just make it and not wait for it, not think about it, just try to make it now—I think that’s what I tried to teach them.

Mark Meeuwenoord: I think I agree with Marcel to be ambitious, but also be adaptive and be honest, you know, because there are these ideas out there that are really dominant— about being successful, about a lot of stuff—

for us to survive in this world—in general, but especially in design, in art practices. Because you have access to so, so, so much awesome stuff all the time that it can be overwhelming, and you have to really take care of yourself as a person and as a designer.

Amy: I think that’s really what we’re trying to do at PAM CUT, and certainly at the Portland Art Museum, is welcome folks from all sorts of different interests, and also make sure that they know that things aren’t fixed, that the things that we’re doing in media arts are, in some ways, grand experiments.

and there’s a lot of things changing really fast.

So I think being adaptive and being open for that, being open for change for yourself and accepting failure, I think that’s very important

You know, we’re all trying to figure out what’s next. And all trying to figure out exactly how you merge and change and adapt in art and storytelling, tech and design, in life.

It’s not meant to be intimidating. It’s meant to be accessible. And when we all come together, and we experience something beautiful— something that changes us like what you all have put together with Symbiosis—we also have not only the opportunity to experience, but also to discuss, these really important things with others.

To learn where Symbiosis will be heading after its Portland run with PAM CUT as its U.S. partner, keep an eye on www.symbiosis.show. Symbiosis was made possible thanks to the generous support of Nike, HTC Vive, Flatline Fabrication, and the Consulate General of the Netherlands in New York.

All Symbiosis photos by Nina Johnson.

PAM CUT PROGRAMS

Ever since the windows at PAM CUT were transformed into a burst of color gradients, the Co:Laboratory has brought kids and adults through the doors for hands-on media arts education. With classes including familyoriented stop-motion, kids’ podcasting, Adult DJ Camp, gaming, and VR filmmaking, the Co:Laboratory is offering media arts opportunities that can’t be found anywhere else.

inspired by the art and craft of the eagerly anticipated exhibition Guillermo del Toro: Crafting Pinocchio

On February 18, local augmented reality (AR) maven Heather Dunaway Smith presents “AR: Navigating a New Medium,” a discussion with Q&A about the unique capabilities and constraints of AR and how to leverage those unique capabilities, as well as workflows, best practices, and a summary of the current hardware and software landscape. The following day, she will lead a workshop on creating your very own AR art print. Each session is offered independently or can be bundled for a discounted price.

Fast-forwarding to the summer, PAM CUT is gearing up for another series of summer camps

Much like Pinocchio in Guillermo del Toro’s stop-motion masterpiece, this series of camps is designed for imaginations that aren’t content to be contained. Both new and seasoned artist instructors will engage the region’s creative minds with camps for adults and youth alike that cover different aspects and explorations of the art of animation—including gaming, design, stop-motion, extended reality (XR), and more!

Coming soon to pamcut.org in March, a full listing of classes will be available for signup.

TOP LEFT: A student in the Intro to 360/VR Filmmaking class makes sure the shot is perfect in PAM’s Impressionist Art galleries; TOP RIGHT & MIDDLE: Students in the 2022 Fashion Filmmaking Summer Camp use iPads to shoot and edit their films recorded in PAM’s galleries; BOTTOM LEFT & RIGHT: DJ Ambush’s Sightz and Soundz DJing campers mixing songs this past August.

MEMBERS & PATRONS

JUST FOR MEMBERS

MEMBER PREVIEW DAY FOR GUILLERMO DEL TORO: CRAFTING PINOCCHIO

JUNE 10, 2023

THANK YOU, MEMBERS!

This past November, we welcomed over 1,800 members to the Museum for our Fall Members Open House, our first in-person event since 2020! Members made connections with art, the Museum, and each other through engaging activities, special presentations, and artist-led demonstrations. A highlight of the evening was an interactive mural painting project with IDEAL PDX Latino Artists Exchange. Members worked together to paint our very own PAM members community mural. The mural was then raffled off to one lucky member, who had the work installed at home! Special thanks to IDEAL PDX, and all of our members who attended this special event.

Members will be among the first to see our newest exhibition, Guillermo del Toro: Crafting Pinocchio in a members-only viewing before opening weekend! Watch your inbox for more info.

Advance tickets required.

DID YOU KNOW?

Annual Automatic Renewal and Monthly Installment Plans are available to make renewing your membership easier than ever! Make sure your membership is always current and never have to worry about whether you’ve renewed for the year. Enrolling is easy: Call us at 503-276-4249 to sign up for Auto Renewal to have your membership renew automatically every year, or to set up payments in monthly installments of as low as $13.33 a month!

Members who have signed up for automatic payments may opt out or cancel upcoming payments at any time by calling 503-276-4249 or emailing membership@pam.org.

Visiting the Museum as a Member

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

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

MEMBERS NIGHT FOR GUILLERMO DEL TORO: CRAFTING PINOCCHIO

WATCH YOUR EMAIL INBOX FOR MORE DETAILS THIS SPRING.

You’re invited to a special members-only night at the Museum in celebration of Guillermo del Toro: Crafting Pinocchio. Members will explore the galleries after hours and enjoy fun activities and engaging programming related to the exhibition.

The Museum also offers online lectures, film screenings, 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.

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.

LEFT: Member raffle winner Kayna Hogue (left) with Alvaro Tarrago of IDEAL PDX (right). PAM members community mural designed by Mariel del Rincon with collaborators Alvaro Tarrago, Jessica Lagunas, and Jose Solis; Mackinnon & Saunders. Geppetto and Pinocchio Production Puppets, 2019-2020. Geppetto: steel, foam latex, silicone, resin, fabric, fiber, plastic. 4 x 4 in. x 14 in. (10.2 x 12.1 x 35.6 cm). Pinocchio: 3D printed resin, 3D printed steel, steel, silicone, paint. 4 x 3 x 9.5 in. (10.2 x 7.6 x 24.1 cm). Guillermo del Toro’s Pinocchio, 2022. Image courtesy Netflix.

PATRONS

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.

To learn more about the Patron Society, visit our website at pam.to/patron or contact Aashna Tiruvallur, Patron and Annual Giving Officer, at aashna.tiruvallur@pam.org or 503-276-4203.

UPCOMING EVENTS

PATRON RECEPTION WITH HITO STEYERL

FEBRUARY 11, 2023

Enjoy an intimate reception with artist Hito Steyerl in celebration of the opening of This is the Future.

AN INSIDER’S

LOOK AT THE PORTLAND ART MUSEUM’S NEW ROTHKO PAVILION

FEBRUARY 22, 2023

Join us for an insider’s update on the Rothko Pavilion project with Phil Hamp, Principal, Vinci Hamp Architects; Tim Eddy, President of Hennebery Eddy; and Museum Director Brian Ferriso. Watch your inbox for more info.

SAVE THE DATE: 2023 CINEMA UNBOUND AWARDS

JUNE 22, 2023

Mark your calendar for the Portland Art Museum’s media arts organization, PAM CUT // Center for an Untold Tomorrow’s fourth annual Cinema Unbound Awards. The evening will highlight artists, innovators, and leaders who are not content to be contained.

TOP LEFT: Hito Steyerl, exhibition view n.b.k., 2019: Hito Steyerl, This is the Future 2019; Power Plants, 2019. Courtesy of the artist; n.b.k.; Andrew Kreps Gallery; Esther Schipper. Photo © n.b.k. / Jens Ziehe; TOP RIGHT: Roger Ross Williams, Arthur Lewis, and Tasha Smith (presenter) at the 2022 Cinema Unbound Awards; BOTTOM RIGHT: Rothko Pavilion rendering courtesy of Hennebery Eddy Architects.

MAKE ART YOUR LEGACY

Nick Knapp moved around the Pacific Northwest before arriving in Portland at the age of 19 to attend Portland State University. As a young person establishing his roots, he found inspiration when visiting the Portland Art Museum. He joined as a member nearly four decades ago, thanks to year-round access to art, and he developed a special admiration for Northwest artists like Amanda Snyder, Carl Morris, Arthur Runquist, and Charles Heaney.

Recently, Nick and his wife, Patty (pictured above), made a planned gift by setting up a charitable giving annuity. They are thrilled the Museum offers stellar programming and exhibitions which it makes accessible through free and reduced admission. Their gift not only supports the vital mission of the Museum, but has the added benefit of a tax deduction and annual income for the Knapps.

When we asked Nick why he and Patty continue to support the Museum’s mission, he responded, “A charitable annuity was an easy way to give to the Museum while receiving a lifetime income. I recognize that by giving, we help our community access the art that we have enjoyed for years.”

Like Nick and Patty Knapp, you too can make a planned gift that can provide you and/or a loved one with income for life while supporting the vital mission of the Portland Art Museum.

How a

Charitable Gift

Annuity Works:

• You transfer cash or appreciated assets to the Portland Art Museum in the form of a charitable gift annuity

• The Museum signs an annuity contract, promising to pay fixed payments to you during your lifetime (the size of the payment depends on various factors)

• You receive an immediate tax deduction for the gift

Benefits of a Charitable Gift Annuity

• Further the charitable work of Portland Art Museum with your gift

• Receive fixed income payments to you or another annuitant you designate for life

• Receive a charitable income tax deduction for the gift portion of the annuity

• Benefit from payments that may be partially tax-free

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

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

Anita and Melia Agudelo

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2022 ANNUAL GALA CELEBRATING OSCAR HOWE AND JEFFREY GIBSON

FALL MEMBERS OPEN HOUSE

ICHI-GO ICHI-E: AN EVENING OF JAPANESE ARTISTRY

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Anonymous

TRIBUTE GIFTS

Paul and Grace Andrews in Appreciation of John Goodwin

Jean Brown in Memory of Virginia “Ginny” Nelson

Carolyn Eaton in Memory of Bonita Davis

Barbara K. Erlich in Memory of Victoria Russell

Lindsay Frieze in Honor of Geoffrey Roy Edwards

Megan Gazzo in Honor of Dylan Peterson

Gregory B. Holt in Memory of Janet Louvau Holt

Antonio J. Pasion in Memory of Anna M. Parisi

Antonio J. Pasion in Memory of Dr. Harry E. Groth

Janice E. Quivey in Memory of Virginia “Ginny” Nelson

Janice E. Quivey in Memory of Walter Meihoff

Keller Foundation in Memory of R. B. Keller

LEARNING & COMMUNITY PARTNERSHIPS ACCESS SPONSORS

As of November 30, 2022

Arts and Education Access Fund

Lamb Baldwin Foundation Ed Cauduro Fund of the Oregon Community Foundation

Louis and Virginia Clemente Foundation FRAME Institute of Museum and Library Services

Robert Lehman Foundation

Oregon Community Foundation The Reser Family Foundation Barbara and Phil Silver

Joseph E. Weston Public Foundation of the Oregon Community Foundation U.S. Bank

EXHIBITION SERIES SPONSORS

As of November 30, 2022

PRESENTING SPONSORS

Mary and Ryan Finley

William G. Gilmore Foundation

The James F. and Marion L. Miller Foundation Nancie S. McGraw

LEAD SPONSOR

The Collins Foundation

Mary and Cheney Cowles Flowerree Foundation

M.J. Murdock Charitable Trust Dorothy Piacentini

Travers and Vasek Polak The Smidt Foundation

MAJOR SPONSOR

Maribeth Collins Exhibition Endowment Fund Gospel of Thomas, LLC Pat and Trudy Ritz

The Smidt Foundation The Standard Charles and Darci Swindells

SPONSOR

The Sharon and Keith Barnes Endowment 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

MONTHLY GIVING Regular Gifts, Extraordinary Impact

When you choose to make your gift on a monthly basis, you help ensure a financially sustainable future for the Museum and a vibrant arts center in our downtown Portland neighborhood. We couldn’t do the vital work of connecting audiences with art without support from our community. Monthly donors provide reliable funds that make our Museum a place of growth, learning, celebration, and connection for visitors of all ages.

SHOP FOR ART

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.

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. The Gallery offers delivery and installation services.

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.

PAM Venues

Join us on Friday, April 28, 4 to 7 p.m., for the opening of RSG’s Spring Show. We will be showcasing over 200 newly acquired original artworks from our outstanding Member Artists. Mark your calendars and get the first look at some of the best in local fine art.

RSG 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.

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 artfulvenues.pam.org.

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

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

EXHIBITION SCHEDULE

Opening

HITO STEYERL: THIS IS THE FUTURE February 11, 2023 – May 27, 2023

GUILLERMO DEL TORO: CRAFTING PINOCCHIO June 10 – September 2023

BLACK ARTISTS OF OREGON August 2023 – December 2023

AFRICA FASHION November 2023 – February 2024

Continuing

JEFFREY GIBSON: TO NAME AN OTHER Through February 26, 2023

JEFFREY GIBSON: THEY COME FROM FIRE Through April 30, 2023 TRACES Through April 23, 2023

HUMAN | NATURE: 150 YEARS OF JAPANESE LANDSCAPE PRINTS Through May 7, 2023

MASTERWORKS | PORTLAND: BOTTICELLI Through May 7, 2023

DAKOTA MODERN: THE ART OF OSCAR HOWE Through May 14, 2023

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

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.

MORE ART — FOR ALL OF PORTLAND AND BEYOND

Over the past 130 years, the Portland Art Museum has sought to find new ways to embrace our community and celebrate art and artists. Our goal is to make the experience of our collection richer and more accessible, while ensuring that our Museum can be a place of reflection, expression, and empathy for everyone.

That’s where you come in. Your unwavering support as a member, donor, and a community partner allows us to connect our visitors to the power of art each day.

As we embark on this new year, our Museum will continue to evolve and grow; elevate art and artists; and celebrate stories of our shared humanity. With you by our side, we will remain a beacon of art and connection in our region for generations to come. We are lucky to have you in our Museum family.

Guillermo del Toro on the set of Guillermo del Toro’s Pinocchio, 2022. Image courtesy Jason Schmidt/Netflix.