Portal, Spring 2024

2024 SPRING | SUMMER

future now

monet to matisse french moderns

psychedelic rock posters and fashion of the 1960s

2 FROM THE DIRECTOR

3 TRANSFORMING THE MUSEUM

9 EXHIBITIONS & INSTALLATIONS

Future Now: Virtual Sneakers to Cutting-Edge Kicks

Monet to Matisse: French Moderns

Psychedelic Rock Posters and Fashion of the 1960s

Throughlines: Connections in the Collection

15 NEWS & NOTEWORTHY

Venice Biennale partner programs

An interview with Kathleen Ash-Milby, Curator of Native American Art

Year in Review

Lloyd DeWitt appointed The Richard and Janet Geary Curator of European & American Art Pre-1930

Free First Thursdays return

Sensing Art: Making art experiences more accessible

25 PAM CUT

Tomorrow Theater

Co:Laboratory

Save the Date: Cinema Unbound Awards

29 MEMBERS & PATRONS

33 GIFTS & GATHERINGS

PORTAL, VOL. 13, 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.

PROGRAMS

For

on public 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

Thursday-Friday, 10 a.m. – 8 p.m.

Saturday–Sunday, 10 a.m. – 6 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.

Free First Thursdays – Museum admission and Tomorrow Theater programs are free on the first Thursday of every month.

Arts for All – Oregon Trail Card holders can purchase up to two admissions for $5.

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.

TOP: Pierre-Auguste Renoir (French, 1841–1919). The Vineyards at Cagnes 1908. Oil on canvas, 18 1/4 21 3/4 in. (46.4 55.2 cm). Brooklyn Museum, Gift of Colonel and Mrs. Edgar W. Garbisch, 51.219. (Photo: Brooklyn Museum); József Rippl-Rónai (Hungarian, 1861–1927). Woman with Three Girls circa 1909. Oil on board, 24 1/8 36 3⁄4 in. (61.3 93.3 cm). Brooklyn Museum, Designated Purchase Fund, 1994.68. (Photo: Brooklyn Museum); Victor Moscoso (American, born Spain, 1936), Miller Blues Band, Daily Flash, and The Doors at Avalon Ballroom (detail), 1967, color offset lithograph on paper, image/sheet: 22 in x 14 in, Gift of Gary Westford, from the Gary Westford Collection, © Family Dog 1967 © Rhino Entertainment 2008, 2019.29.1

FROM THE DIRECTOR

The new year is well underway, and I find the feeling of spring reflecting our current moment as a museum and perhaps even our city as a whole. Since the last issue of this magazine we have achieved much, and yet there are so many exciting things on the horizon. As the Portland Art Museum’s campus transformation project reaches new milestones, the reality of the impact for members, visitors, and our community becomes tangible. From completing the new loading dock to excavating the courtyard, and then going upward with a new four-story structure, you will see the new vision begin to take shape. Thank you, members, for your continued patience and support throughout this period. I hope that you have been able to enjoy powerful exhibitions like Black Artists of Oregon and Africa Fashion, as well as Throughlines: Connections in the Collection.

While our physical spaces are in flux, our commitment to admissions access, curatorial excellence, and world-class exhibitions is steadfast. We are thrilled to bring back free admission on the first Thursday of each month thanks to support from the Art Bridges Foundation. This, combined with offering evening hours again, has reinvigorated the galleries and the neighborhood, and it is very gratifying to see. I am also pleased to welcome Lloyd DeWitt to the Museum and to Portland. He is our new Curator of European & American Art Pre-1930 and the coordinating curator for Monet to Matisse: French Moderns this summer, a stunning exhibition from the Brooklyn Museum that I hope you will all make plans to see.

Meanwhile on the world stage, the Portland Art Museum makes history in April as co-presenter of Jeffrey Gibson’s exhibition the space in which to place me at the U.S. Pavilion of La Biennale di Venezia, the first solo exhibition by a Native American artist representing the U.S. at the Biennale. This groundbreaking exhibition in Venice is commissioned and curated by Kathleen Ash-Milby, our Curator of Native American Art, who brought Gibson’s They Come From Fire to our museum in 2022.

Our spring and summer special exhibition Future Now: Virtual Sneakers to Cutting-Edge Kicks is a perfect exhibition for Portland, and design enthusiasts from far and wide are invited to experience artful shoe design in an innovative environment. PAM CUT Director Amy Dotson, who is also our Curator of Film and New Media, brings her signature unbound energy to Future Now. Members and visitors will have opportunities to immerse themselves in all things sneakers at the Museum, the Tomorrow Theater, and in the community this summer.

We are once again partnering with the American Federation of Arts, one of the country’s leading organizers of exhibitions, to realize this installation that is particularly relevant to Oregon. For over a century, the AFA has been central to bringing inspiring and culturally significant works of art to cities and communities throughout the United States. In fact, the Portland Art Museum worked with the AFA in 1914 to bring its first traveling collection of fine American paintings to our city. We are proud to carry on this important collaboration as our Museum continues to bring the world to Portland, and Portland to the world.

Sincerely,

Brian J. Ferriso

Director and Chief Curator

Director Brian Ferriso and Amy Dotson, Director of PAM CUT, with David Byrne before the opening experience at the Tomorrow Theater in November 2023.

A CAUSE FOR CIVIC CELEBRATION

BY ALIX MEIER GOODMAN, CHAIR OF PORTLAND ART MUSEUM

BOARD OF TRUSTEES AND CABINET CO-CHAIR OF CONNECTION CAMPAIGN

The Portland Art Museum is a bright spot in our city. Never has its impact been more vital. Museum leaders, staff, volunteers, and members all demonstrate steadfast commitment, dedication, and enthusiasm for downtown Portland. As the Museum’s current Board Chair, I appreciate the many people and organizations in our city working together to make positive change in our city. Our Portland Art Museum is a leader among them. For example, Director Brian Ferriso was asked to join Governor Kotek’s downtown recovery task force, an overdue recognition of the arts’ central role in the vitality of a city.

The Museum has cemented its commitment to downtown—figuratively and now literally—with its campus expansion and

renovation. This transformational project is a remarkable example of civic commitment and investment that comes from 137 years of unwavering service to the city and our region. The Museum’s Main Building was constructed during the height of the Great Depression, a time when the city experienced many conflicting demands. But art prevailed; creativity, foresight, and education prevailed.

Today our Museum is again leading during tough times—investing $111 million to create a campus that is beautiful, functional, and connected to the neighborhood we share with many longstanding cultural anchors. An additional $30 million is being raised for the endowment to ensure sustainability for generations to come. This whole endeavor

is an act of courage that demonstrates love and vision for Portland. I am grateful for our many believers.

The Museum’s vision, transforming its campus while reimagining our collections and growing our programs, is taking shape largely without significant support from state or city governments. The fact that we have already raised an unprecedented amount for this once-in-a-generation project from individuals, corporations, and foundations speaks volumes about the drive and commitment of this institution and its greatest supporters.

My family has been dedicated to Portland for many generations, and that’s not about to change. Art connects us. Art creates civic

dialogue. It’s a positive that the Governor understands art and culture can be a key driver in downtown Portland’s economic rebirth. The Museum has always known it’s essential.

Oregon Governor Tom McCall said, “Heroes are not giant statues…. Rather, they are people who say, ‘This is my community, and it’s my responsibility to make it better.’“

We are Museum members because we love art and community engagement. Now we get to be part of something big and meaningful in our city.

Learn more about the Portland Art Museum’s transformation at portlandartmuseum.org/ rothko-pavilion.

CONSERVATION DURING CONSTRUCTION

Conservator Charlotte Ameringer on protecting the art while we expand the Museum

Preparing the Museum for the impact of construction during this transformational project is a complex and important task. Charlotte Ameringer, the Portland Art Museum’s conservator, talks about her role and the process for ensuring that the art is safe in the galleries during construction below.

You have been through art museum construction at previous jobs. How did that prepare you for this project?

I have been through previous construction projects at the Museum of Fine Arts, Boston, and the de Young Museum in San Francisco. My previous experiences have been invaluable in managing the safety of the collections here at PAM during construction. I knew that partnering with an engineering firm specializing in the vibration caused by construction activities was crucial to those efforts. Together we formulated a comprehensive vibration control and monitoring plan. This involved extensive testing to determine safe vibration thresholds as well as continuous monitoring to ensure that those limits are being adhered to. The other essential component is excellent communication both within the museum and with our contractor.

Why does so much art need to be taken down when construction is only in one area?

The short answer is that vibrations travel in many different ways. The museum building is actually composed of several different historic buildings, each with its own unique characteristics and response to construction activity. Additionally, some vibrations are acute and, while strongly felt initially, drop off very quickly as they move away from their source; other types of vibration may initially seem more moderate but can travel for long distances. That’s why pre-construction testing is so important. It helped us to identify “safe lines” within our building: areas where artwork can be safely exhibited or stored, as well as those areas that needed to be emptied of art.

What aspects of construction have the most impact on art?

It was surprising to learn during our testing that the construction activity we had to be most thoughtful about was compaction—a process of applying pressure to soil to make it denser. Compaction produces continuous or sustained vibrations at a low frequency. These types of vibrations can transmit over very long distances without lessening. Another curious aspect of vibrations is what is called “resonance frequencies.” Every material has one or more natural frequencies. When a material encounters a vibration at or close to its natural frequency, an oscillation phenomenon occurs, meaning the vibrations within that material are amplified and continue to occur even once the external vibrations end. Resonance has the most destructive force and is something we want to avoid because the materials an artwork is composed of can also vibrate—sometimes separately from one another—which has the potential to cause damage, such as cracking, flaking, and tears.

Can you share any interesting or surprising aspects of caring for the art so far in this project?

One fun fact is that the human body can detect vibrations of extremely low magnitude and, when we perceive those vibrations through multiple senses—e.g., we feel something and it is also loud—our (subjective) perception of that vibration is heightened. It would be extremely difficult to accurately judge the level of vibration using just our senses and therefore what its impact on an artwork might be. For example, sometimes construction events that I think will trigger a cautionary vibration alert don’t, and vice versa. Thankfully the deployed vibration monitors give us an objective record of vibrations.

Learn more about the Museum’s art conservation work at portlandartmuseum.org/collection/ conservation.

GETTING READY FOR THE ROTHKO PAVILION

What’s Happening Now

The new loading dock on Southwest Jefferson Street, which includes an added second-story gallery above the dock on Jefferson Street and a renovated conservation studio on the lower level, is now complete. This major milestone marks the end of phase one of our campus transformation project. When it opens in 2025, the Jefferson Street Gallery with its large window overlooking nearby churches will be home to exhibitions of works on paper and photography, while the conservation studio has been transformed to better suit art conservation activities and will allow the public more interaction with this important work.

Major construction on the Main and Mark Buildings continues in preparation for constructing the Rothko Pavilion. On your visit, you will see a large tower crane in between the two buildings, and depending on the day, excavation work, and the erection of the steel framing for the Pavilion throughout the summer months. The Museum and Mortenson construction teams continue to prioritize visitor and employee safety so that we can remain open for our community—we hope to see you soon!

How to Visit

The visitor entrance continues to be located on Southwest Park Avenue near Jefferson Street, and an exciting slate of special exhibitions are on view in galleries on the first and second floors.

We continue to encourage members and visitors to check the website and subscribe to our email newsletter for special notices during construction or the most up-to-date information about what is on view. Thank you for your continued support and patience as we build a more connected, accessible museum.

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. As members, you can look forward to learning more about how to support the project, including a special steel beam toppingoff event this summer. Want to learn more now?

Please contact Cassandra (Cassie) AdamsHarford, Connection Campaign Manager, at cassandra.adams-harford@pam.org

FUTURE NOW: Virtual Sneakers to Cutting-Edge Kicks

MARCH 30, 2024 – AUGUST 11, 2024

Coming to the Portland Art Museum this spring in partnership with the Bata Shoe Museum in Canada, Future Now: Virtual Sneakers to Cutting-Edge Kicks is a groundbreaking new exhibition that features nearly 60 futuristic footwear designs and pushes the boundaries of what design can be.

“The future is always being shaped by the present. The exhibition includes many incredible and innovative new footwear designs that are promising to transform what we will wear tomorrow. From sneakers created to

address issues related to sustainability and inclusion to shoes that blur the line between the real world and the metaverse, this exhibition explores how forward-looking creators are helping us step into the future.”

—Elizabeth Semmelhack, Director and Senior Curator, Bata Shoe Museum

Featuring wildly mold-breaking exhibition design by local, female-driven design studio Osmose—whose work has been featured in The New York Times and Architectural Digest and includes the recent reimagining of PAM CUT’s

Tomorrow Theater—this show is an incredible opportunity to set foot into a world of cuttingedge thinking around new artistic practices in innovation, sustainability, and technology that are revolutionizing our tomorrow.

Robotic Boots.

Unique to the Portland Art Museum’s presentation is a collaboration with Doernbecher Freestyle, celebrating its 20th year in partnership between Doernbecher patient-designers and Nike visionaries creating footwear that benefits OHSU’s Doernbecher Children’s Hospital.

FUTURE NOW PROGRAMS

Opening Talk with Elizabeth Semmelhack

MARCH 30, 2–3:30 P.M.

FIELDS BALLROOM (MARK BUILDING)

Kicking off Future Now: Virtual Sneakers to Cutting-Edge Kicks this opening talk with Bata Shoe Museum Director and Senior Curator Elizabeth Semmelhack offers visitors an inside look into her curatorial process behind the exhibition. With a focus on innovation, Semmelhack’s talk will look at the layers that underline futurism, materiality, and technology within footwear design.

An incredible mix of fashion, design, gaming, new media, architecture, and material arts as well as sustainable and collaborative practices, the exhibition features work by designers as diverse as Alexander Taylor and Zaha Hadid and innovators Mr. Bailey and Salehe Bembury, as well as designs made in collaboration with fashion icons Rick Owens, Stella McCartney, and Yohji Yamamoto, and top gaming companies including PlayStation, EA Sports, and more.

Featuring sections highlighting Innovation, Sustainability, Transformative, and Virtual shoewear, the provocative exhibition features digitally designed and 3D-printed shoes, sneakers made from mushroom leather and reclaimed ocean plastics, and footwear created for the metaverse. The ahead-of-its-time Nike MAG, conceived for Back to the Future Part II by Portland’s own Tinker Hatfield, will also be on display, as well as recent innovators MSCHF’s Big Red Boots and EKTO VR’s One

Teaching the art and media leaders of tomorrow today, Co:Laboratory Summer Camps at PAM CUT will run June–August 2024 featuring programming for kids in elementary, middle, and high school who will learn about sneaker production, fashion, design, animation and graphics, gaming, and more all summer long. For more information, visit portlandartmuseum. org/calendar/category/classes-camps

Curated by Elizabeth Semmelhack, Director and Senior Curator, Bata Shoe Museum, and curated for PAM by Amy Dotson, Director of PAM CUT// Center for an Untold Tomorrow and Curator, Film and New Media. The exhibition is co-organized by the American Federation of Arts and the Bata Shoe Museum.

Future Now: Virtual Sneakers to Cutting-Edge Kicks is supported in part by Exhibition Series Sponsors.

Community Partner: Sneaker Week PDX

The Portland Art Museum and PAM CUT are

thrilled to partner with Sneaker Week PDX for a multitude of programs and activations throughout the run of Future Now. Sneaker Week PDX hosts an annual seven-day festival of sneaker-themed experiences that connect athletes, collectors, influencers, and aspiring professionals to tools and opportunities they need to succeed in the footwear industry. Working with a large variety of sneaker companies and sneaker enthusiasts, the Museum and PAM CUT are excited to work with Sneaker Week PDX to engage visitors in a variety of thought-provoking and enriching experiences around Portland’s sneaker culture.

TOP LEFT: Mr. Bailey, Octopus Shoe 2018. Collection of Mr. Bailey. Courtesy American Federation of Arts and the Bata Shoe Museum; BOTTOM LEFT: Undercurrent 2022, © Bata Shoe Museum, Courtesy American Federation of Arts and the Bata Shoe Museum; TOP RIGHT: Jeff Staple RTFKT, Meta-Pigeon K-Minus 2021. Collection of the Bata Shoe Museum, gift of RTFKT. Courtesy American Federation of Arts and the Bata Shoe Museum;

MIDDLE: EKTO One Robotic VR boots, 2021. Collection of Brad Factor. Courtesy American Federation of Arts and the Bata Shoe Museum; BOTTOM: Nike, Nike MAG 2015, Courtesy of the Department of Nike Archives, American Federation of Arts, and Bata Shoe Museum.

MONET TO MATISSE French Moderns

JUNE 8 – SEPTEMBER 15, 2024

From the Brooklyn Museum’s renowned European art collection, Monet to Matisse: French Moderns showcases approximately 60 works of art considered to be modernist masterpieces. Focusing on France as the artistic center of international modernism from the mid-19th to mid-20th centuries, the exhibition features paintings, drawings, and sculpture

by these favorite artists, but this selection will also introduce our visitors to lesser-known innovative artists like the Hungarian exile József Rippl-Rónai and the influential academic artist Jehan Georges Vibert. Many of the works will bring to light the stories of the dealers, patrons, and New York collectors who helped make the Brooklyn Museum’s collection one of the nation’s finest.

The Portland Art Museum’s presentation of Monet to Matisse: French Moderns is curated by Lloyd DeWitt, who started in February as the Museum’s new Richard and Janet Geary Curator of European & American Art Pre-1930 (see page 20). “I’m delighted that we are able to bring the highlights of Brooklyn’s exceptional collection to Portland and share these masterpieces, which resonate strongly with Portland’s own excellent selection of French Moderns,” DeWitt said.

ranging widely in scale, subject matter, and style. Impressionism, Symbolism, Fauvism, Cubism, and Surrealism are all explored in the work of Paul Cézanne, Marc Chagall, Edgar Degas,

Monet to Matisse: French Moderns s organized by the Brooklyn Museum and curated for Portland by Lloyd DeWitt, The Richard and Janet Geary Curator of European & American Art Pre-1930. Lead support provided by the Flowerree Foundation, the William G. Gilmore Foundation, The Laura and Roger Meier Family, the McGraw Family Foundation, The James F. and Marion L. Miller Foundation, and Exhibition Series Sponsors.

Henri Matisse, Claude Monet, PierreAuguste Renoir and many others.

Monet’s Rising Tide at Pourville and Rodin’s Age of Bronze rank among the major masterpieces

TOP: Claude Monet (French, 1840–1926). Rising Tide at Pourville 1882. Oil on canvas, 26 32 in. Brooklyn Museum, Gift of Mrs. Horace O. Havemeyer, 41.1260; LEFT: Camille Pissarro (French, 1830–1903). The Climb, Rue de la Côte-du-Jalet, Pontoise 1875. Oil on canvas, 21 1/4 x 25 7/8 in. Brooklyn Museum, Purchased with funds given by Dikran G. Kelekian, 22.60; MIDDLE TOP: Auguste Rodin (French, 1840-1917). The Age of Bronze medium-sized model, first reduction, 1876; cast 1967. Bronze, 41 1/4 15 x 13 in. Brooklyn Museum, Gift of B. Gerald Cantor, 68.49; (All Photos: Brooklyn Museum).

TOP RIGHT: József Rippl-Rónai (Hungarian, 1861–1927). Woman with Three Girls circa 1909. Oil on board, 24 1/8 36 3⁄4 in. Brooklyn Museum, Designated Purchase Fund, 1994.68; RIGHT: Berthe Morisot (French, 1841–1895). Madame Boursier and Her Daughter circa 1873. Oil on canvas, 29 5/16 x 22 3/8 in., Brooklyn Museum, Museum Collection Fund, 29.30. (Photo: Sarah DeSantis) (All Photos: Brooklyn Museum).

PSYCHEDELIC ROCK POSTERS AND FASHION OF THE 1960s

OCTOBER 19, 2024 – MARCH 30, 2025

Psychedelic Rock Posters and Fashion of the 1960s reveals the passion and creativity of the era through the iconic rock posters of San Francisco and beyond. The Haight-Ashbury neighborhood of San Francisco was an incubator for ideas, expression, social thought, and, above all, music. Young people from across the nation gathered there to explore alternative ways of living and to challenge contemporary paradigms. At the heart of it all was the psychedelic experience, or an altered state of consciousness.

To capture the heady experience of life and music at this time, poster artists invented a graphic language to communicate the excitement of rock concerts, which featured liquid light shows and film projections. They drew on disparate historical precedents such as Art Nouveau, Wild West posters, and Victorian engraving and combined them with vibrating color, inventive lettering, and witty and provocative design. The exhibition brings together more than 150 rock posters, including work by the “big five” designers of the day—Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson—as well as other superb talents, such as Bonnie MacLean and Bob “Raphael” Schnepf.

Fashion both reflected and influenced the psychedelic look of the posters. The exhibition showcases approximately 15 eclectic vintage styles ranging from embroidered denim and hippie fringe to crochet and velvet.

Psychedelic Rock Posters and Fashion of the

1960s draws from the collection of the Portland Art Museum, most of which comes from a major donation from Gary Westford, who serves as a consultant on the project. Key loans round out the visual story of the psychedelic era.

The exhibition is curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings. Supported in part by Exhibition Series Sponsors.

MUSEUM

CONTINUING THROUGHLINES Connections in the Collection

THROUGH NOVEMBER 1, 2024

Throughlines embraces wonder and curiosity, bringing together artworks from across the Museum’s collections to explore the range of artistic innovation. From diverse geographies, cultures, and time periods, artists have created images, objects, and experiences that ask us to consider ourselves and the world around us from different perspectives.

This exhibition provides a glimpse of the exciting growth ahead as we transform our campus (see page 3). While the galleries undergo these significant improvements, this collaboratively designed exhibition showcases our art collections and programs in a new light.

Accompanying the exhibition, programs like artist talks and residencies, event-based experiences, and multimedia presentations will offer opportunities for visitors to find joy and wonder in the artistic process. This spring, for example, Sensing Art (see page 22) invites visitors to touch detailed replicas of artworks, helping make our Museum more accessible to blind and low-vision visitors.

Throughlines: Connections in the Collection is supported by the Museum’s Exhibition Series Sponsors.

TOP: Bob “Raf” Schnepf (American, born 1937), The Doors, Lothar and the Hand People, Captain Beefheart & The Magic Band September 29-30, 1601 West Evans Street, Denver, 1967, offset lithograph on paper, image/sheet: 19 15/16 in x 13 15/16 in, Gift of Gary Westford, from the Gary Westford Collection. Portland Art Museum, Portland, Oregon, 2023.69.32; Victor Moscoso (American, born Spain, 1936), Miller Blues Band, Daily Flash, and The Doors at Avalon Ballroom (detail), 1967, color offset lithograph on paper, image/sheet: 22 in x 14 in, Gift of Gary Westford, from the Gary Westford Collection, © Family Dog 1967 © Rhino Entertainment 2008, 2019.29.1

TOP RIGHT: Théo Van Rysselberghe (Belgian, 1862-1926), Plage à marée basse à Ambleteuse, le soir (Beach At Low Tide, Ambleteuse, Evening), 1900, oil on canvas, 21 1/2 in x 24 3/4 in, Gift of Laura and Roger Meier, public domain, 2011.142; RIGHT: William Cumming (American, 1917-2010), Three Kids 1968, oil on Masonite, 23 1/2 in x 35 5/8 in, Gift of Sandra Stone Peters, © artist or other rights holder, 86.70.5

VENICE BIENNALE

VENICE, ITALY | APRIL 20 – NOVEMBER 24

U.S. Pavilion Presented by Portland Art Museum and SITE Santa Fe Commissioned by Kathleen Ash-Milby, Louis Grachos, and Abigail Winograd

Partner programs connect Indigenous, Native American, and international students and the public

Final preparations are underway for the 60th International Art Exhibition of La Biennale di Venezia, where the Portland Art Museum will be part of making history, including planning for two programs with our educational partners that will take place in Venice in June and October 2024.

As announced in July 2023, the Museum and SITE Santa Fe in New Mexico, in cooperation with the U.S. Department of State’s Bureau of Educational and Cultural Affairs, will present Jeffrey Gibson as the representative for the United States at the Biennale, which is often viewed as the Olympics of the art world. The exhibition, titled the space in which to place me will provide international audiences with the first major opportunity to experience Gibson’s work outside of the U.S.

A member of the Mississippi Band of Choctaw Indians and of Cherokee descent, Gibson will be the first Indigenous artist to represent the U.S. with a solo exhibition. This exhibition is also the first to be commissioned and co-curated by a Native American curator— Kathleen Ash-Milby, Portland Art Museum Curator of Native American Art.

Jeffrey Gibson’s exhibition the space in which to place me will be on view in Venice, Italy, April 20 through November 24, 2024.

EDUCATION PROGRAMS

Educaton and community programs are central to Gibson’s work. The Biennale project includes collaborations with two educational partners: the Institute of American Indian Arts (Santa Fe, New Mexico) and Bard College (Annandale-on-Hudson, New York). These partner programs focus on connecting Indigenous, Native American, and international undergraduate humanities students, graduate art students, and the public.

The Institute of American Indian Arts:

VENICE INDIGENOUS ARTS SCHOOL

JUNE 10–14

The Institute of American Indian Arts will organize a series of three public programs in Venice from June 10 to 14, 2024. The weeklong school will be conducted by the IAIA MFA in Studio Arts Program, under the direction of Mario A. Caro. Focused on developing Keywords in Indigenous Arts, its curriculum aims to continue the work of identifying a vocabulary best suited for discussing Indigenous arts—on its own terms.

Bard College

CONVENING: IF I READ YOU WHAT I WROTE BEAR IN MIND I WROTE IT

OCTOBER 26–28

In collaboration with Christian Ayne Crouch, Bard College will organize a convening focusing on the relationship of the art and culture of Indigenous North America to global histories. It will take place in Venice from October 26 to 28, 2024.

More details about these programs will be posted on the exhibition website as the information becomes available: jeffreygibsonvenice2024.org.

AN INTERVIEW WITH

KATHLEEN ASH-MILBY,

CURATOR OF NATIVE AMERICAN ART & VENICE BIENNALE CURATOR

Kathleen Ash-Milby’s day job is Curator of Native American Art here at the Museum, and since the summer of 2022, she has been planning and organizing this historic exhibition with the artist, Jeffrey Gibson, and her colleagues and fellow commissioners Abigail Winograd and Louis Grachos. Here Kathleen talks about why this is such an important and special moment for everyone involved in the project.

What should Portland Art Museum members and Portlanders know about the prestige of the Venice Biennale if they’re not familiar with it?

International art biennials take place all over the world today, but the Biennale di Venezia was the first when it was established in 1895. So not only is it the oldest international biennial held in the same location with each edition, but it also is especially known for its inclusion of national pavilions (dedicated exhibition spaces) for over 29 nations in the Giardini della Biennale, an area of parkland within the historic city. For each iteration of the Biennale, each participating nation selects an artist or artists to be exhibited in their pavilion, representing what is considered the best work happening in their countries at the time. The U.S. Pavilion was not built until 1930. It was owned by a nonprofit, and later the Museum of Modern Art until 1986, when ownership transferred to the Guggenheim Foundation. The Peggy Guggenheim Collection in Venice manages the building and facilitates the installations, but the exhibitions are selected through a competitive process through the U.S. Department of State.

That’s a lot of background information, but it gives you an idea of how this event came to be recognized as one of the most prestigious art exhibitions globally. Artists, curators, and other arts professionals, as well as collectors and members of the public, visit the Biennale from all over the world to see what is considered to be the most important artwork being created. It is not an exhibition created primarily for an Italian audience—it is truly a global contemporary art event.

What has it meant for you personally to work on this project?

Jeffrey and I have known each other since my first studio visit with him in New York City in 2002. We first spent time together in Venice in 2007 when I curated a public art installation as a collateral project (an independent but official Biennale exhibition shown outside of the official national pavilions) with the artist Edgar Heap of Birds, sponsored by the National Museum of the American Indian. For both of us, it was our first real exposure to this sprawling and diverse international art exhibition. It was also when we both considered the idea of Jeffrey exhibiting there as a goal or, rather, a crazy fantasy! The participation of Native artists at that time in the national art scene was minimal, and even less so in the international contemporary art world. Canada selected its first Indigenous artist, Edward Poitras, to exhibit in its pavilion in 1995, but the United States had only included Native artists once in the 1930s. In that group exhibition of American painters depicting the West, the organizers included a Southwest “Indian Gallery” within the pavilion. There is limited documentation of this room, but we do know it included the work of many named and unnamed potters, silversmiths, weavers, and painters grouped together. As a country, we’ve come a long way in a short time. For our field to have advanced so far in the last 17 years is incredible, but for Jeffrey and I to be a part of this historic moment together is truly a dream come true.

Are there long-term impacts and benefits that the Museum would hope for after the Biennale ends?

The majority of past commissioning museums have been based on the East Coast. Together with SITE Santa Fe, we’re making a statement about the significance of Western museums. For the Portland Art Museum, this is an unmatchable platform for recognition of our work in the larger art world. Many of the U.S. Pavilion funders may never have had the opportunity or incentive to support our work in Portland; now we are squarely on their radar. Beyond the exhibition year, our name will forever be attached to this historic project. It is the type of marketing and visibility that you just can’t buy. You can only earn it.

The Bureau of Educational and Cultural Affairs of the U.S. Department of State.

by the Mellon Foundation. Lead Support is provided by the John D. and Catherine T. MacArthur Foundation. Major support is provided by Agnes Gund, Arison Arts Foundation, Carl & Marilynn Thoma Foundation, The Hearthland Foundation, Sotheby’s, and the Terra Foundation for American Art.

Jeffrey Gibson’s exhibition for the U.S. Pavilion, the space in which to place me is made possible by

Presenting Support is provided

TOP: Jeffrey Gibson, The Body Electric 2022. Installation view at SITE Santa Fe. Photo by Shayla Blatchford. Photo Courtesy of SITE Santa Fe; BOTTOM: Jeffrey Gibson, The Body Electric 2022. Installation view at SITE Santa Fe. Photo by Shayla Blatchford. Photo Courtesy of SITE Santa Fe; RIGHT PAGE: Jeffrey Gibson and Kathleen Ash-Milby, Venice, Italy, 2007. Photo by Dorothy Peiper-Riegraf..

2022–2023 YEAR IN REVIEW

The fiscal year ending June 30, 2023, saw the Portland Art Museum and PAM CUT // Center for an Untold Tomorrow celebrate the power of art to expand our horizons, connect with community, and experience growth and change. The year was distinguished by presenting 18 celebrated and popular exhibitions while also commencing work on construction for the Rothko Pavilion expansion and renovation project. More than 222,000 people visited the Museum or attended a program or an event last fiscal year, and of those, more than 43,000 people visited for free.

Exhibitions and Programs Highlights

Exhibition highlights include honoring Oscar Howe’s legacy, showcasing site-specific works from Jeffrey Gibson, introducing the thoughtprovoking work of Hito Steyerl, showcasing a Renaissance masterwork by Sandro Botticelli, and featuring more than 150 years of Japanese landscape prints. Just before the fiscal year ended, Guillermo del Toro: Crafting Pinocchio opened, featuring the Oscar-winning work of the local artists and craftspeople at ShadowMachine, the Portland-based animation studio.

The presentation of works by Oscar Howe and Jeffrey Gibson was accompanied by several important public programs and events for the Native American community, including a first-ever symposium centered on the work of Oscar Howe. The Museum’s connection with artist Jeffrey Gibson continued with the July announcement that the Museum was selected (along with partners at SITE Santa Fe) to be the co-commissioning institutions presenting Gibson as the U.S. representative at the Venice Biennale in Italy from April 20 through November 24, 2024. It is an incredible

honor to represent the U.S. at this event, often considered the Olympics of the art world.

PAM CUT // Center for an Untold Tomorrow is changing for whom and by whom stories in all mediums are told. Fiscal year highlights included the U.S. debut of Symbiosis, a performative, multi-user, and multisensory installation, and the fourth annual Cinema

Unbound Awards, honoring local and national boundary-breaking artists including Guillermo del Toro, Fred Armisen, Gregory Gourdet, Jon Raymond, Jacqueline Stewart, and Tessa Thompson.

The collection continues to grow, and curators accessioned many wonderful new pieces for the Museum. Highlights include a rare ink painting by the artist Jushō for the Asian Art collection; an experimental work by Henri de ToulouseLautrec for the Graphic Arts collection; making the Five Words in Orange Neon by Joseph Kosuth permanent to the Modern and Contemporary Art collection; works by six Black and Indigenous photographers from the Perspectives exhibition; and two vibrant glass works from Jeffrey Gibson’s installation They Come From Fire.

New additions to the curatorial and collections departments include Karen Bishop, Assistant Conservator, and Erin Grant, Assistant Curator of Native American Art.

Community Partnerships

Beyond the art in the galleries, the Museum continues to build and grow mutually beneficial community connections with schools, artists, and organizations like Beaverton Middle School, the Portland Metro/STEM Group, Native American Youth & Family Center (NAYA), Portland Public Schools, OHSU, Latino Network, Portland State University, and others.

Participants in our February 2023 program “Evening for Educators: Hito Steyerl’s This is the Future” heard from the curator and engaged in a workshop with NW Noggin neuroscience educators.

The Museum’s 22-member Teacher Advisory Council continued to collaborate with Museum staff to promote meaningful student and teacher engagement and to support arts integration across the curriculum.

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.

We began a multi-year collaboration funded by the Art Bridges Foundation between Oregon and Washington visual arts organizations, including Chachalu Museum, Art Center East, High Desert Museum, Umpqua Valley Arts, Five Oaks Museum, and Confluence to share resources and develop art education opportunities that better connect urban and rural communities and change narratives around American art.

Finances

Fiscal year 2023 saw a financial dip from the previous year. This was largely due to the shifting nature of spending habits, the exhibition schedule, and the unsteady state of downtown Portland. The number of member households, however, continued to perform at a pre-pandemic level and accounted for 15% of operating revenue. Admissions were down from 16% to 9% of operating revenue, and some of this was attributable to overall decreased foot traffic in the area. The Museum’s event rental business is rebounding, and the Rental Sales Gallery continues to perform well. Donations, in the form of contributions and grants, continue to make up the majority of Museum income, at 50% of the total, only 2% of which came from state and local government. On the expense side, staffing continues to be the most important part of the budget at 63% of the total, with some savings found in art acquisitions and exhibition installation expenses. Expenses exceeded revenues for fiscal year 2023, but thanks to various federal pandemic relief programs, the Museum has the reserves to fund the deficit and the Board has approved a plan to use these funds to return to a balanced budget within three years.

By the Numbers

18 Exhibitions

43,403 People who attended for free

3,000 Teaching posters distributed to schools in Oregon

795 PAM CUT class and camp attendance

62 Public, youth, and accessibility programs

217 Student performers

9,000 Youth/students to visit as part of a school group

LLOYD

DEWITT APPOINTED THE RICHARD AND JANET

GEARY CURATOR OF EUROPEAN & AMERICAN ART PRE1930

The Portland Art Museum is pleased to welcome Lloyd DeWitt as The Richard and Janet Geary Curator of European & American Art Pre-1930, a newly created position that will lead the next phase of the European and

American art programs (pre-1930) and set the vision for the reinstallation of its permanent collection following the completion of PAM’s campus transformation project in 2025. DeWitt, who joined our curatorial staff February 5, comes to the Museum from the Chrysler Museum of Art in Norfolk, Virginia, where he was the Chief Curator and Irene Leache Curator of European Art.

In this role, DeWitt will be responsible for the care, research, exhibition, and growth of the Museum’s collection of nearly 2,000 paintings, drawings, and sculpture up to 1930 in European American Art. This will include organizing scholarly exhibitions and related programs, while also spearheading strategic acquisitions to

expand the collection in this area. Additionally, he will oversee the presentation of all traveling exhibitions of European and American art pre-1930 including this summer’s special exhibition Monet to Matisse: French Moderns (see page 12)..

“We are delighted to welcome Lloyd DeWitt to Portland as our new Richard and Janet Geary Curator of European & American Art Pre1930,” said Brian Ferriso, Director and Chief Curator.

with the local Native American community in Norfolk.

At the Art Gallery of Ontario in Canada, where DeWitt served as Curator of European Art from 2011 to 2016, he organized exhibitions on Michelangelo, J. M. W. Turner, and Wilhelm Hammershøi, while also acquiring two of the most significant works of European art in the history of Canadian museums. DeWitt also previously held curatorial positions at the Philadelphia Museum of Art from 2003 to 2011.

“Lloyd’s deep experience as a curator, as a scholar of European Art, and as a museum administrator, all made him uniquely qualified to steward our collections and partner with me and the curatorial team as we plan for the Museum’s future as an expanded hub for the community to engage and connect through the art.”

—DIRECTOR BRIAN FERRISO

RETURN OF FREE FIRST THURSDAYS

“I’m thrilled to be joining the Portland Art Museum in this new expanded role,” said DeWitt. “I believe a curator’s job is to harness the creativity of the whole organization in order to develop impactful exhibitions and programs that will resonate within the Portland community and the broader art world.”

DeWitt has worked in major art museums across North America for more than two decades. Notable highlights from seven years at the Chrysler Museum include organizing exhibitions such as the touring Triumph of Nature (2023), Farm to Table (2024), and Thomas Jefferson, Architect (2019). As Chief Curator he was also instrumental in revising the Chrysler’s collection management policy, streamlining the deaccessioning process, and initiating foundational work on developing a Works on Paper Study Center, which is now under construction. He also worked closely with community partner organizations to bring multiple perspectives to exhibitions and programs, including leading engagement

DeWitt is also a visiting adjunct professor at Old Dominion University. He holds a Ph.D. in Art History from the University of Maryland, College Park; an MA in Art History from the University of Massachusetts, Amherst; and a BA in Fine Art from the University of Guelph, Guelph, Canada.

Learn more about the Museum’s curators and collections at portlandartmuseum.org/collection.

The Portland Art Museum is pleased to announce the recent return of Free First Thursdays thanks to generous support provided by the Art Bridges Foundation’s Access for All Program. Starting in January, Museum admission is now free all day on the first Thursday of every month from 10 a.m. to 8 p.m., and programs at the newly opened PAM CUT Tomorrow Theater in Southeast Portland are also free. On January 4, the Museum and PAM CUT happily welcomed over 3,000 visitors through the doors!

The Museum was one of 64 organizations across 36 states and Puerto Rico selected to receive funding from Art Bridges Foundation’s Access for All initiative. The funding underwrites the costs associated with Free First Thursdays for three years and represents a sweeping effort to get people back to museums after COVID-19 brought declines in revenue, staffing, and attendance. With many museums seeing just 71% of their prepandemic attendance, the new initiative aims to restore pre-pandemic levels—and open new opportunities for all people to enjoy art by reducing barriers to access and strengthening community relationships.

Free First Thursdays at the Museum and PAM CUT’s Tomorrow Theater aligns with the

revitalization of the long-standing Portland art galleries’ tradition of opening their doors for openings, receptions, and events on the first Thursday of each month. In recent months art and culture organizations have joined to bring back this popular activity, including the Pacific Northwest College of Art and the Oregon Jewish Museum and Center for Holocaust Education in the North Park Blocks.

Approximately 45,000 visitors visit the Portland Art Museum for free or at reduced cost annually. Free First Thursdays are in addition to the Museum’s existing admissions access programs, including free admission for kids aged 17 and under, veterans, and active duty military, as well as quarterly Miller Family Free Days. Reduced-cost admission is also available for seniors, students, and individuals on supplemental nutrition assistance, and through select Multnomah County Library branches. The Museum and PAM CUT offer free events as part of regular programming, including Art & Conversation, a popular program that is also now back on the schedule.

Art and Conversation 2024 Dates

Art and Conversation returns to the Museum as a quarterly offering. This program is a free access event—open to all—that brings people together for dialogue and connection over art on view at the Museum and within Portland. After a pause during pandemic closures, this well-loved program kicked off last December with a Black Artists of Oregon artist talk by Jerry Quenton. Museum staff were pleased to welcome back old and new faces with coffee and pastries. Following Quenton’s impactful lecture, visitors headed to the Museum galleries to see the Black Artists of Oregon exhibition and other works on view. With many exciting exhibitions on the horizon, mark your calendars for this year’s Art and Conversation program list.

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

APRIL 4, 2024

JULY 11, 2024

OCTOBER 3, 2024

DECEMBER 5, 2024

Photo credit: Ed Pollard

SENSING ART

Making art experiences more accessible for blind and low vision visitors

“Generally a visit to the museum for a blind person is a long, slow, quiet walk through a big building. And that is every bit as exciting as it sounds.” —John Furniss, The Blind Woodsman

The Museum’s galleries are filled with art that delights, challenges, and connects visitors. Yet for the over 101,000 Oregonians who are blind or low vision, art is often inaccessible. Thanks to a generous grant from the French American Museum Exchange (FRAME), the museum is working to become more accessible to blind and low vision visitors.

Artist Michael Cantino

tactile graphics of four objects from the permanent collection including Thelma Johnson Streat’s Monstro the Whale, f&d cartier’s Wait and See, 13.12, Kari Morgan’s Aks (Water) and Christine Miller’s Watermelon Portraits

Exhibition website pages now include image descriptions for many of the objects on view, as well as digital labels and wall text that are accessible to screen readers and magnifiers and allow users to change font color and text size.

Visitors can check out a variety of assistive technology free of charge during their visit. These include magnification sheets, a lighted magnifier, a flashlight, an iPad with magnification, and multiple EnChroma glasses, with sizes for both children and adults, which help increase color vision for those with red/ green color blindness.

The Bloomberg Connects app offers a variety of audio guides for special exhibitions and can be accessed from anywhere. In the future, we aim to revive in-person and virtual “Sensing Art” tours that provide verbal descriptions, multisensory interaction, and group discussions and engagements.

We are excited to continue increasing access to art experiences for all visitors and welcome you to come explore art in a new way.

created

Young visitor enjoying tactile exploration of art by Leonard Locatis during “Getting a Feel for Art” in 2019. PC: Nina Johnson; LEFT: Tactile Graphic by Michael Cantino of Christine Miller’s (American, born 1990) Watermelon Portraits 2022, watercolor and ink on paper, sheet: 20 1/4 in x 16 in, Museum Purchase, 2022.56.6; TOP RIGHT: Kari Morgan (Canadian and Nisga’a, b. 1989), Aks Water), 2021, acrylic on birch, 40 in x 40 in x 1 9/16 in, Museum Purchase, funds provided by Mary Sayler, 2022.16.1; BELOW: Tactile Graphic by Michael Cantino; Tactile graphic photos by: Madelyn Hampton.

What is there to look forward to at the Tomorrow Theater this spring and summer?

In a word, everything!

Our Tomorrow Theater’s plus model—showcasing local artists, performers, and community organizations alongside our screenings, events, programs and talks—supports art in all its many forms over 200 nights a year! With something new every Thursday–Sunday, you never quite know what tomorrow will bring. And with our full bar featuring signature theme cocktails and mocktails, it’s a party every night.

“What we do at the Tomorrow isn’t easily categorized or put into a box, but that’s the point,” says PAM CUT Director Amy Dotson. “The Tomorrow Theater and its experiences are designed very specifically to mix things up and bring people together for a night of fun and cultural snackery. Before and during a show, artists are creating unique experiences that ensure our audiences are having fun interacting, having conversation, and actively participating in unique experiences that stick with them far after the lights come up and we head home, all still collectively dreaming of the joy of Showgirls Bingo.”

Your membership includes PAM CUT benefits, including Tomorrow Theater programming. Please see page 30 for more details. Make sure you don’t miss a minute of spring and summer programming by checking tomorrowtheater.org for all the latest PAM CUT screenings & experiences. Tickets are on sale now!

TOMORROW IS NOW!

The Tomorrow Theater on Portland’s east side is now open Thursday–Sunday for a cinematic mix of film, new media, animation, music, dance, performance, and more. Since November 1, PAM CUT has already served more than 7,500 folks—many brand new to our PAM and PAM CUT community. Along with signature cocktails and mocktails and bespoke programming with local artists, 65 screenings, events, and programs at the Tomorrow Theater are already in the books!

PAM CUT kicked things off with the legendary artist, musician, and storyteller David Byrne, followed by six weeks of programming that

“The Tomorrow Theater functions almost like a site for the [Museum’s] alternative and niche pockets of art to converge and create. It’s a place where one can suspend any expectations of yesterday or today, and instead just let a tomorrow unfurl around.”

—ARTILLERY MAGAZINE

included everything from being the first theater in the nation to host Tay-Oncé (a double feature of Taylor Swift’s The Eras Tour & Beyoncé’s Renaissance) to The Shining back and forth (that’s right, it was simultaneously played backward and forward with a live DJ!).

Academy Award–winning costume designer Ruth E. Carter was also with us in March, discussing her work in Afrofuturism on such iconic films as Black Panther, Amistad, Coming 2 America, and Do the Right Thing.

The premieres of Northwest films Finding Groovopolis and Trees, and Other Entanglements were fantastic celebrations, as well as meeting guest artists and curators who flew in from New York, Los Angeles, Philadelphia, San Francisco, and Chicago to share their stories. Family programming included an interactive screening of LAIKA’s Missing Link and for the first time ever, PeeWee’s Playhouse Christmas Special was on the big screen.

CO:LABORATORY PROGRAMS UNLEASH CREATIVITY THROUGH STORYTELLING AND NEW MEDIA ART

Welcome to PAM CUT’s Co:Laboratory, where we’ve unveiled three exciting programs to amplify creativity and unleash storytelling through new media art!

WonderLab, our family-centric initiative, kicked off in time for Halloween with Scary Monsters, Super Creepy Stories. Working with teaching artist Fry, participants drew exquisite

One participant shared, “I love how accessible the program was to artists/adults of all skill levels. It was the perfect antidote to my own creative block.”

Get ready for our summer camps dedicated to the Future Now exhibition, where we’ll unravel the intricate dance between design and art—from accessories to game design, and yes, even sneakers! PAM CUT camps are designed for ages 8–10 and 11–14, with one week for high school students ready to discover the art of sneaker design and fabrication with shoe designer Herbert Beauclere! Lace up your creativity and join us for a summer of unforgettable artistic adventures.

Just some of this year’s camps:

JUNE 17–21

Ages 11–14

corpse-style monsters and constructed creepy creatures from cardboard, fabric, silk flowers, and plenty of hot glue! The delight continued in December with Baubles, Furbelows, and Gewgaws, where families crafted wreaths and garlands to honor their holiday traditions. In February, multitalented artist Larry Yes led the WonderLab crew in a harmonious journey of collaborative songwriting, immortalized through audio recording.

Our Youth Art Unbound program had a stellar launch with Ready, Set, Animate, a thrilling three-part workshop for ages 11–14. Youth animators joined forces to create an animated short for Metropolitan Youth Symphony’s Young Composers project “Music for an Imaginary Cartoon.” Save the date for June 6 at the Schnitzer Auditorium for the grand unveiling of the musical animation!

Finally, adults got in on the fun with our November UnStuck program Exploring Poetic Comics with Elizabeth Haidle. Haidle shared creativity-building exercises and demonstrated techniques for pairing words and images.

THREAD & TREAD // Unleashing Creativity in Sneaker Design with Herbert Beauclere (founder of Sneaker Week)

GROOVECRAFT // A Design Camp for Sonic Architects with DJ Ambush

JUNE 24–28

Ages 8–10

MINIATURE MARVELS // Designing Small Scale Worlds with Recycled Materials with Teeny Conway

SNEAKER ALCHEMY // Transforming Ideas into Wearable Art with Fuchsia Lin

JULY 29–AUGUST 2

Ages 15–18

KICKS & CREATIVITY // Designing the Future of Footwear with Herbert Beauclere

AUGUST 5–9

Ages 11–14

ANIMATING THE FUTURE // Procreate Artistry for Youth with Fry

LIFT YOUR VOICE // Designing Zines and Handmade Books for Social Impact with golden collier

Learn more at pam.to/camps

Check out our website for more awesome Co:Lab programs designed to provoke creativity, including plushie-making, comic and zine creation, and collaborative experiences in virtual reality!

Are you a member? Watch your email inbox for discount codes to get 20% off the cost of Co:Lab summer camp tuition. Not a member yet? With individual memberships starting at $80, you can save 20% on camp (and other

classes and events), support an awesome museum, and get access to PAM and PAM CUT exhibitions and more all year long!

Register before April 30, 2024, and get an additional 5% discount on multiple sessions with the code EARLYBIRDPAMCUT.

Save the Date

PAM CUT’S FIFTH ANNUAL CINEMA UNBOUND AWARDS

JUNE 21, 2024

PAM CUT’s fifth annual Cinema Unbound Awards will be another incredible night to remember, so mark your calendars for June 21, 2024!

The Awards honor multitalented, world-class artistic innovators working at the intersection of art and cinema who are pushing the boundaries of what’s possible.

Proceeds from the Cinema Unbound Awards benefit PAM CUT’s year-round youth programs, artist services, Tomorrow Theater programming, and new media exhibitions— directly supporting the programs that embrace artistic exploration and contribute to a more

vibrant, accessible, and diverse media-arts ecosystem in Portland and in our world.

Past honorees have included artists and actors including Guillermo Del Toro, Steve McQueen, Shirin Neshat, Tessa Thompson, Gus Van Sant, Fred Armisen, Todd Haynes, 2023 James Beard Best New Restaurant winner Chef Gregory Gourdet, Phil Lord & Christopher Miller, Garrett Bradley, and John Cameron Mitchell as well as industry leaders such as MOMA’s Chief Curator Rajendra Roy, Academy Museum president Jacqueline Stewart, ShadowMachine co-president Alex Bulkley, and UTA Artists’ Arthur Lewis

Presenters have included Academy Award Best Picture Winners Bong Joon-ho (Parasite) and Chloe Zhao (Nomadland), as well as Isabella Rossellini, Sleater-Kinney, Jeff Goldblum, and surprise guests like Alessandro Michele (former Creative Director, Gucci), performer Justin Vivian Bond, and rapper Aminé

For more information and to purchase tickets/ table, please contact Harper Brokaw-Falbo at harper.brokaw-falbo@pam.org.

JUST FOR MEMBERS

Did you know?

Your Portland Art Museum membership also includes PAM CUT and Tomorrow Theater programming!

What kind of benefits do I get?

Members receive special discounts on the wide variety of multimedia programming at the new Tomorrow Theater, as well as other innovative PAM CUT programming, including Co:Laboratory camps and classes.

What’s the Tomorrow Theater?

The Tomorrow Theater is our brand-new 250seat theater space devoted to cinema, art, and multimedia storytelling (see page 24). With special curation by guest artists, partners, and creatives, every night at the Theater will bring something different: from film, dance, and comedy to music, XR, performance, and more. When audiences walk into the theater, they will never quite know what Tomorrow brings!

How do I access these benefits?

Make sure we have your current email address on file and watch your inbox for information on discount codes and limited-time special opportunities for members, including free ticket offers, event presales, and more.

MEMBER SERVICES

Upgrade

today for access to even more!

Friend ($160) and above level members receive reciprocal admission privileges with over 50 major museums around the country, including the Seattle Art Museum and Fine Arts Museums of San Francisco! Plus, you’ll receive two free one-time-use guest passes, and invitations to special events and programs just for Friend and above level members.

Visit portlandartmuseum.org/membership for a full list of levels and benefits. If you’re already at the Individual or Dual level, upgrade today to receive these benefits and more!

We’ve gone digital!

We have taken

the next step in going green by providing new digital membership cards!

This means that the next time you renew your membership, you will receive an email with instructions on how to download your new digital card to present at admission.

If you still have a hard plastic card(s) and would like to hang on to them, or if you haven’t renewed and received your digital cards yet— don’t worry! Your plastic card or valid photo ID will also still work at the box office for check-in. Otherwise, look out for an email containing your new digital card within a week of the next time you renew your membership.

Annual automatic renewal and monthly installment plans available

You’ve got options! Our monthly installment and automatic renewal options are available to make joining or renewing 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.

Visiting the Museum as a member

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

Find out about the latest happenings!

With so many things happening, the best way to keep up to date on new events and member opportunities is through our regular Member Highlights emails.

Learn about new exhibitions, last-minute ticket offers, member events and pop-up programs, film screenings, artist and curator talks, and more—all of which are available for free or at reduced cost to members. Make sure we have your email address on file so you don’t miss out on all of the special opportunities coming this spring and summer!

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 most generous annual donors and experience a shared connection to our institution enhanced by a host of offerings that bring art into daily life.

Join the Patron Society and enjoy benefits that deepen your involvement with your Museum:

• A guided tour of current exhibitions

• Exclusive access to events, exhibition previews, and programs, including special screenings at the Tomorrow Theater

• Local, national, and international art-focused travel opportunities with fellow Patrons

EASY WAYS TO JOIN OR UPGRADE TO A PATRON:

ONLINE: pam.to/patron

PHONE: Call 503-276-4203 to join or upgrade!

For more information, questions, or to join with monthly installments, please contact Aashna Tiruvallur, Patron and Annual Giving Officer, at aashna.tiruvallur@pam.org or 503-276-4203.

ENGAGEMENT OPPORTUNITIES

Future Now Patron Opening

MARCH 30, 2024

Coming to the Portland Art Museum from the Bata Shoe Museum in Canada, Future Now: Virtual Sneakers to Cutting-Edge Kicks is a groundbreaking new exhibition that features nearly 60 futuristic footwear designs like the auto-lacing Nike MAG, and we have an exclusive opening reception just for Patrons! You will have the exclusive opportunity to meet Amy Dotson, Director of PAM CUT // Center for an Untold Tomorrow and Curator, Film and New Media, and learn more about the exhibition firsthand!

A formal invitation coming soon!

Behind the Scenes at the Venice Biennale

MAY 2024

Curator Kathleen Ash-Milby first dreamed of putting Jeffrey Gibson in the Venice Biennale in the early 2000s. Nearly 20 years later, that dream is now coming to fruition. Join her for an exclusive look at Gibson’s installation for the 60th La Biennale di Venezia.

Monet to Matisse Patron Reception

SUMMER 2024

Celebrate Monet to Matisse: French Moderns at an exclusive Patron reception. Coming to Portland from the Brooklyn Museum, this stunning exhibition features nearly 60 works of modernist masterpieces. Focusing on France as the artistic center of international modernism from the mid-19th to mid-20th centuries, the paintings, drawings, and sculpture on display range widely in scale, subject matter, and style.

A formal invitation coming soon!

Need to update your contact info or have questions about your membership status? We are here to help!

HOURS: Monday – Friday, 9 a.m. – 5 p.m. PHONE: 503-276-4249 EMAIL: membership@pam.org FAQS: portlandartmuseum.org/faqs

The U.S. Pavilion is presented by Portland Art Museum and SITE Santa Fe and Commissioned by Kathleen Ash-Milby, Louis Grachos, and Abigail Winograd

MIDDLE:

Nike, Nike MAG 2015, Courtesy of the Department of Nike Archives, American Federation of Arts, and Bata Shoe Museum. RIGHT: André Derain (French, 1880–1954). Landscape in Provence circa 1908. Oil on canvas, 12 11/16 16 in. Brooklyn Museum, Anonymous gift, 39.273. (Photo: Brooklyn Museum)

AN INTERVIEW WITH NICO FEARN

Nico Fearn is a Portland resident, Museum patron, and GM, VP of Energy at Jordan Brand. His love of art in all its forms initially drew him to the Portland Art Museum, and he has since become involved in leadership committees and attends events regularly. We sat down to chat with Nico about his love of art, curation, inspiration, and design.

When did your love of art start?

My passion for art started when I was young, but really began once I got to spend time with artists as an adult. As I was exposed to more artistic work and learned the deeper meaning behind each piece, I realized that art can be a powerful vehicle for social change.

I think that art is one of the most beautiful ways to have a conversation and pass stories down. Having a hard conversation in front of an art piece is easier than having the same conversation across a table from someone who doesn’t share your opinions. Art is a vehicle for beauty, but it is also a strong vehicle for understanding. Once I understood that depth, it became an obsession.

What areas of art appeal to you the most?

I fundamentally believe that art comes in all forms. There is a common thread to the array of pieces acquire: who the artist is as a person,

What made you want to get involved?

specifically remember going to the Hank Willis Thomas exhibition opening at PAM. Seeing people socializing and connecting over art convinced me that art can change lives, and talking to those people changed my perspective. Museums and galleries can feel intimidating and potentially unwelcoming, but I knew I wanted to keep coming back because at PAM I felt accepted, safe, and inspired. also attended the Cinema Unbound Awards, and that event was an awesome depiction of how diverse Portland can be. We need safe spaces in Portland where we can celebrate, be curious, and have meaningful conversations. The event represented an example of what needs to happen in Portland every week. The potential of that makes me want to keep coming back.

Why do you think people should support our Museum?

their journey, and what they stand for. I look for pieces that have substance and meaning.

It’s also hard for me not to see overlap between art and design: speakers and record tables, sports cars, furniture—it’s all art. My remote control caddy is a piece of art—it’s sculpture. It keeps it fun for me and approachable.

How has art influenced your life?

When the pandemic began, I needed motivation, and art gave me light and joy. I focused on being a collector and patron of art, and visited artists’ studios. My friends and I had meaningful conversations around art and the continued need for social justice for the Black community in Portland and beyond. Those conversations pushed me to grow as both an aesthete, an art enthusiast, and as a human. Art continues to mean new things to me, but the people I met through it all are the most important thing.

Selfishly, I want Portland to reach its full potential as a major city. I want Portland to be celebrated nationally for art, diversity, design, and culture. For those who live here, we are accountable for the cultural health of our city. If you care about the arts being a place for inspiration, learning, and meaningful conversations, then you should actively support the Portland Art Museum.

Is there anything else you would like to make known to our readers?

want to say thank you to everybody who has contributed to the Museum and created it as a safe place for me to exist. The Portland Art Museum is a place where your voice is heard. The Museum is open to feedback from the community, and your opinion is wanted, your presence is appreciated, and you are seen. Let’s make this city a place people want to stay an extra day. Lastly, please support local artists. Without artists, there is no art. Without art, there is no Portland Art Museum. Without the Portland Art Museum—well, let’s never imagine that!

PHOTO: Nico Fearn (left) with John Goodwin, Director of Community Philanthropy

THANK YOU

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

All gifts above $250 received August 1, 2023 - November 30, 2023

*deceased

Akeem and Misriat Abodunrin

Lane and Adam Abrahamsen

Robert and Bonnie Adams

Rukaiyah Adams

Anita and Melia Agudelo

Michael and Debbie Aiona

Nathaniel Akin and Celest Brown

Carole Alexander

Volkan Alkanoglu

Jane Cedar and Julia Allen

Susan and Dean Alterman

Ameriprise Financial

Donald Andersen

Ruth Anderson

Linda and Scott Andrews

Nichole Anglin and Lance Zaklan

Joyce Anicker

Anonymous Fund #16 of OCF

Arison Arts Foundation

Bruce C. Armold

Armstrong Fine Art

Art Bridges Foundation

Art of Catering

Aspinwall Editions, LLC

Katherine Atkinson

Jean and Ray Auel

Augen Gallery

Bill Avery Azuma Gallery

Steve and Kathryn Bachelder

Robert and Martha Bailey

Jacqueline and Steve Baker

John Baker and Jana Bauman

Gregory Bakken

Mr. Howard Baldwin and Monica Delzeit

Erica Bandel Janssen and Kim Bandel

Banmarkay Charitable Foundation

Sharon and Keith Barnes

Bruce Barnett and Caroline Gordon

Thomas and Ellen Bauch

Bill and Kathy Baumann

Lisa Beach

Doris Beard

Mrs. Mary Cecilia Becker

Jane and Spencer Beebe

Peter and Susan Belluschi

Pamela Berg

Dr. Daniel S. Berger

Berggruen Institute

Ms. Charles Berglund

Deborah Bergman

Don Bergstrom

Daniel Bergsvik and Donald Hastler

Jonathan Betlinski

Jean and David Biggs

Mort Bishop and Mary Lang

Mary Bishop / The Broughton and Mary Bishop Foundation

Mr. and Mrs. Mario K. Bisio

Kimberly and Daniel Bissell

Mary and Don Blair

Catherine Blanksby

Bonnie Lee and Joel Bluestone

Gail and Ray Bodwell

Mary Lee Boklund

David Bolger

Terrie Bollinger

Lesley Bombardier

Aron and Annalisa Borok

Lew Bowers

Ella and Robert Bowman

Dean and Mary Boyer

Mary and Tim Boyle

Cheryl and John Bradley

Barbara and Robert Brady

Celia Brandt

John and Sarah Brehmer

John and Eileen Brennan

Elizabeth Brenner and Tom Stibolt

Mr. David Brezing

Judith and Harlan Bridenbaugh

Bette Briggs

Lori Brocker and David A. Knapp

Dana Brown and Kamron Graham

Richard Louis Brown and Thomas Mark

Karl Bryan and Kathleen O’Shaughnessy

Tina Buikat

Linda Hathaway Bunza and Geoffrey Bunza

James and Diane Burke

Paul and Stacey Burkhart

Catherine E. Burns

Barbara Burtleson

Stewart and Mary Butler

Bryce Butler

Kristi Byrd

Katherine and Vincent Cahill

Kathy Calcagno

Mrs. Barbara Caldwell

PJ Calihan and Michael Mutz

Abe Cambier

Maurine and Paul Canarsky

Tom Carey and Sarah Chamberlain

Carl & Marilynn Thoma Foundation

Suzanne Carlbom

James R. Carlisle and Kayleen Shiiba

Elizabeth Carnes

Stan Carpenter and Julie Koenig

Cecile L. Carpenter

Rick Caskey

Alex Ching

Mary Chomenko Hinckley and Gregory K. Hinckley

Regi and Virginia Christensen

Joyce and Bob Christman

Chubb Insurance

Elisabeth and Jerry Clark

Ivan Clark and Kathryn Farr

Mr. Jed A. Cohen and Paul B. Lance

Marcia and John Cohen

Katherine Cole

Gallatin Public Affairs

Truman Collins and Nancy Ives

Elinor and Martin Colman

William Comer

Mr. Jeffrey G. Condit

Tyler Connoley

Sonja and Regina Connor

Thomas and Barbara Cooney

Erin Cooper and Justin Lovero

Ginnie Cooper and Rick Bauman

Byron Courts

Cheney and Mary Cowles

Pinn and William Crawford

Crow’s Shadow Institute of the Arts

Chuck Crowe

Anne and James F. Crumpacker

Gail Cunningham and Sara Wood

Susan and Paul Curtin

Courtney Dailey

Diana and William Dameron

Lisa J. Davidson

Cameron and Dick Davis

Christine Tell and Jeffrey Davis

Elizabeth and Kirk Day

Christelle and Jon deAsis

George and Barbara Dechet

Barbara Delano and John Wyckoff

Steven and Christine Demarest

Devil’s Food Catering

Mary R. Dick

Robin Dickinson

DLR Group

Mr. Kirk Dobbins and Dr. Herbert Kitchen

David Dotlich and N. D. Elwood

Gile and Melinda Downes

Lee Draper and Tom Paiva

Francie and Paul Duden

Barbara Duerden

Nancy Duhnkrack

Jane Duncombe

Allan and Margaret Dunn

Andy J. Dworkin and Sarina Saturn

Carolyn Easterly

Joyce Bell and Timothy Eddy

Nik B. Edes and Joan Stiles

Jane Ediger

Ann and Mark Edlen

Dr. Jim Edwards and Dr. Michele Mass

Ken and Ann Edwards

Egenolf Gallery

Elizabeth and Gilbert Eklund

Elephants Delicatessen

Ellis Household

Rhonda Coleman and Ralph Emerson

Caroline Enns and Stephen Hall

Robert H. Erickson

Estate of Ruth Elinor Keller*

Estate of W.H. Nunn*

Steve and Annie Eversmeyer

Kelly and James Falkner

Mr. and Mrs. William Farrens

Nico Fearn and Meg Croze

Alicia and Bradley Fecker

Jeanette and Ed Feldhousen

Sandra K. Ferguson

Myron D. Filene and Joan Zivi

Nadine J. Finch

Nanette LaBerge and Daniel Findley

Virginia W. Fink

Lana and Chris Finley

Mary and Ryan Finley

Emmett and Mary Finneran

Teri and Tobey Fitch

Ann Flowerree / Flowerree Foundation

Phyllis Flowers and Sylvia Martin

Mikiko Flynn

Melissa Foley and Robert Hribernick

Fong Family Fund

Barry Ford and Lisa Mensah

Judy Ford

Bob and Konky Forster

Karla Forsythe and Jim S. Crane

Brent Foster

Stephanie Fowler and Irving Levin / The Renaissance Foundation

Katherine and Mark Frandsen

Eustacia Su and Edmund Frank

Carol M. Frankel

Pamela Frankel

Robert and Catherine Franklin

Ellen Freedman

Judith and Paul Fried

Susan Fries

Patricia Frobes and Richard Smith

Sheryl Fuller

Mr. Christian Gaines

John Gale

Elizabeth and David Gallimore

Edward Gans and Lisa Weidman

Lina and Stephen Seabold

Suzanne Geary

Janet Geary and John Miller

Mr. Robert D. Geddes

Edri and Heather Geiger

Roger Genser

Andra Georges and Timothy Shepard

TOP LEFT: V&A Curator Christine Checinska and PAM Curator Julia Dolan; MIDDLE LEFT: Trustees Grace Serbu and Greg Tibbles BOTTOM LEFT: Trustee Roger Brue McHayle and Anjanette McHayle; TOP

RIGHT: Model at the Africa Fashion gala; MIDDLE: Trustee Christelle De Asis MIDDLE RIGHT: Jeffrey Morgan (left) and Bill Lynch; BOTTOM RIGHT: Rukaiyah Adams (left), Gala Co-Chair, and Talie Smith.

James Gerber and Gretchen Newmark

Nora Lehnhoff and Thomas Giese

Mrs. Barbara Giesy

Richard Gil and Gabriela Ordonez

Nancy Gill

John Grant and Katharine Gillespie

William Gilliland

Kylo Ginsberg and Lisa Morgan

Ed Glennon and Amy Morris

Becky and David Gochman

Mimi Goldman

Verity and Antony Goldstein

Robert and Marni Goodman

Alix and Tom Goodman

Conrad Graeber

Paul and Theresa Graham

Evelyn Grant

Kathleen and James Grant

Jerami Grant | Hour Generation Foundation

Robert Gray and Lindsay Ruoff

Barbara and Douglas Green

Leona and Patrick Green

Pamela Greene and Hans Kretschmer

Greg Kucera Gallery, Inc.

Joyce Griffin

Tommy and Cheryl Griffin

David Griffiths

Kathie and George Gross

Larry and Sandy Gross

Marianna Grossman and Reta Keller

Mrs. Karen N. Groth

Dr. Karen Grove and Jay A. Ach

David and Sue Grubb

Cheryl and Alan Guggenheim

Vicki Lewis and Donald Hagge

Lisa and Kirk Hall

Leslie Hall and David Allison

Vinci | Hamp Architects, Inc.

Richard and Barbara Hampson

Susan Collard and Michael Handley

Harry and Marguerite Kendall Fund of Oregon Community Foundation

Steve Harvath

Sara and Fred Harwin

Eugenia Vasquez-Bermudez and Tilman Hasche

Claudette Hastie Beahrs

Mr. Erroyl M. Hawley

Mary Patt Hawthorne

Pamela and Peter Hayes

Julia Head and Samuel Edwards

Bobby Heagerty and Dr. Ron Nelson

Nathaniel Heart

Laura Heller

David Helmold and Mary Roberts

Hennebery Eddy Architects, Inc.

Sue Hennessy and Marcus Wood

Jeffrey Herbst and Marjorie Erwin

James and Susan Hering

Jacinto Hernandez and and Chet Callahan

Greg Hess and Jeff Morin

Tom and Margaret Hickey

Anya King and Gerald Hill

R. Kevin Hill and Lisa Wichowski

Waleria and Warren Hill

Travers Hill Polak and Vasek Polak, Jr.

Phillip Hillaire and Paul Lumley

Mr. Henry L. Hillman, Jr.

Ms. Juliet Hillman

Mary E. Hirsch

Hoda’s Lebanese Restaurant and Catering

Caryl and Brian Hoffman

Mary and Gordon Hoffman

Kerri and Josh Hoffman

Ronna and Eric Hoffman

Fund of OCF

Steven and Kasey Holwerda

Donald and Lynnette Houghton

Joy Bottinelli and William J. Howe

Marilyn Howe

Judy and Hank Hummelt

Hunt & Gather Catering

Adriana Huyer

Judith Hvam

Robina Ingram-Rich and Timothy R. Rich

Ms. Janice Isenberg

Patricia and Michael Ivie

Suzanne and Justin Jagger

Sherrie James

Dr. Patricia Janesh, PhD

Diane F. Jarvis

Ken and Sue Jensen

Robert W. Jensen

David Jentz

The John Lyddon

Family Foundation

Dennis C. Johnson and Steven H. Smith

Kim and Margaret Johnson

Mrs. Salena Johnson

Eric O. Johnson

William Johnson

Craig and Lynne Johnston

Jennifer L. Jones and Michael W. Sefcik

William and Sharon Jones

Mr. and Mrs. Frederick D. Jubitz / Frederick D. and Gail Y. Jubitz Foundation

David and Dolores Judkins

Barbara Kalil

Ajaypreet Kamra

Jill and Henry Kantor

Prajwal Karur-O’Brien Mohan and Dan Karur-O’Brien Muzyka

Sheri Katz and Joel Mullin

Felicia Uhden and Richard Kay

Katherine Keene and John Munro

Kevin Keithley

Kathleen and Mark Kellenbeck

Dorothy and Matthew Kennedy

Kimberly Kenney

J Minott Kerr

David Ketelsen and Brittany Bode

Selby and Douglas Key

Lauren H. Kilbane

Mimi Kilmer

Mary Kilo

James and Margaret Kim

Kamlynn and Anton Kimball

Virginia and David Kingsbury

Carol Kirklin

Heidi and Doug Kirkpatrick

Paul Kleffner and Marvin Gray

Michael and Mary Klein

Nick and Patty Knapp

Franki Kohler

Sonja Kollias

Barbara Kommer and Kurt Koenig

Kevin A. Komos and Dr. Bruce Suttmeier

Lizbeth and George Krupp

Brent Kunkel and Erin Richards-Kunkel

Joan R. Kvitka

L and L Borok Foundation

Stephen Labadie and Pamela Wolter

Dale and Sally LaFollette

Joan Laguzza

LAIKA

Cathy and Loran Lamb-Mullin

David and Liz Lambert

Jeffrey M. Lang and Rae Svendgard

Jonah Lansky and Amy Lansky

Laurie M. Tisch Illumination Fund

Dylan Lawrence

Nancy Leavens

Martha Lee

Richard Lee-Berman and Betty Patton

Barbara Lenfesty and Richard Mullins

Jennifer LeTourneau and Andrew Glass

Leverenz & Associates

Catherine Levi

Stu and Sarah Levy

Carol Schnitzer Lewis Fund of OCF

Stephen F. Dale and Lillian M. Li

William Liedle and Mary MacKillop

John and Marilyn Lindgren

Dina Lindquist and Larry Roper

David and Liz Lippoff

Judith S. Lipski

Carole and Donn Lobdell

JacqueLyn Lobelle and Matthew Smiley

James Lombardi and Kathie Robison

Kathryn Longstreth-Brown

John Loomis and Jacqueline Peterson-Loomis

Barbara Loste and Robert Werckle

Lyna Low

Sheri Yadav and Richard Ludeman

Sylvia and Marvin Lurie

John E. Lutz

Christopher Lyons and Yun Shi

Joshua M. Lyons

Melinda and Jesse Maas

Clinton MacKenzie and Kate

Johnson

Diane and Thomas Mackenzie

Mary MacKillop and William Liedle

Bill and Melinda Maginnis

Louise and Bruce Magun

Gary L. Malecha and Linda F. Gammill

Shawn and Lisa Mangum

Terri Mann and Jim Riha

David and Connie Manning

Linda and Ken Mantel

Patrick K. March and Beverly Toledo

Helenka Marcinek and William Hyde

Scott Marcus

David and Dolorosa Margulis

Brian Mark and Britta Fithian-Zurn

Mrs. Lynn L. Marks

Janice and Tony Marquis

Don Martin and Michael Morrison

Jay and Tonia Mason

Tom Mason

Mason Charitable Trust

Paul and Laura Matson

Ann Mayer

Susan J. McAnulty

Lora and Edmund McCall

McCall Enterprises

Juliet and Geoffrey McCarthy

Catherine McClaskey

Donald and Patricia McConnell

Jim and Char McCreight

Judy and Michael McCuddy

Heather McCulloch

Chief Joe McFerrin II

Kevin and Maureen McGovern

McGraw Family Foundation

Anjanette and Brue McHayle

Masako and Malcolm McIver

Elizabeth S. McQueston

Heather and Andrew McStay

John McVay and Matthew Laschua

Mary and Robert McWilliams

Mark Meek

Julie Menashe

Dr. Gerhard Meng and Darlene Lynch

Janette Mercier

Thomas Mesher

Jeni Meyer

Rachel Meyer

Donald Mickey and Stephanie Feeney

Constance and Crete Anne Miller

Alison P. Miller

John Miller

Mr. Doug Miller

Ms. Mildred C. Miller

Veronica Miller

Sarah Miller Meigs and Andrew Meigs

Nancy Minard and Kathleen Thomas

Aine and Greg Mines

Grace Moe Takasu

Karel Lee Moersfelder

Jon Mohr and Stephanie Murray

Ted and Elaine Molskness

David Montesano

Susan Monti

Jamie Moore and Diana Davis

Mark and Donna Moore

Jeffrey Morgan

Henry and Terry Morse

Laura Moulton and Benjamin Parzybok

Martha Anne and Laurel Moulton

Curtis J. Moulton

Daniel R. Mueller and Jo Ann

Pari-Mueller

Deanna and Wilfried Mueller-Crispin

Mullowney Printing Company

Sarah and Richard Munro

Karen Murphy

Edna Nakamoto and Jim Garrison

Lindy J. Narver

National Endowment for the Arts

Ms. Hester H. Nau

Adrienne Nelson and Ted Poole

Christine Nelson

Mark New and Robin Snyder

Marketta Nord*

Beverly and Richard North

Ray and Carol North

Northern Trust

NorthStar CG, LP

Northwest Academy

Ruth and Ralph Nottingham

NW Documentary

Dan and Carolyn O’Doherty

Annie Oleson

Wendy Beth Oliver

Caroline Onzik and Alex Maslowski

Oregon Arts Commission

Oregon Cultural Trust

Amy and Dennis Osterlund

Overseas Korean Cultural Heritage Foundation

J. Michael Owen and James Yost

Barbara K. Padden

John and Judith Paisley

Jerre Ann and Gus Pappelis

Jin and Julieann Park

James V. Parker and Kathleen Culligan

Trude Parkinson

Stephanie Parrish and Steve Rauner

Parsons Family Fund of Oregon Community Foundation

Andrea Pastega

Jennifer Patterson

Karen A. Paver

PDX Contemporary Art

Pearl Catering LLC

Katherine Pease and John Saurenman

Sharon and Richard Perkins

Currie E. Person and Patrick Newell

John Peterson

Evelyn Rae Peterson

Leah Peterson and Colin Gershon

Katie Peterson

Cathey and David Philbrick

Pia Gallo LLC

Raymond Pitchford and Bruce Simmons

Janet Pitts

Janet and Joseph Pizzo

Marilyn Podemski

Pollock-Krasner Foundation

Theodore Poole

Sue D. Porter

Portland Trail Blazers

Gayle and Carol Post Family Fund of OCF

Bob Powers

Rolando and Megan Pozos

Patricia Prado

Richard Pratt and Jessica Ediger

Marshall Price

Barbara Prigohzy

Jennie and Evelyn Proctor

Prosper Portland

Precision Garage Door Service

Andre Pruitt and Matt Haines

Glenn L. Clevenger and Rod Pulliam

Elizabeth and Klaus Putjenter

Janice E. Quivey

Alicia Rabins and Aaron Hartman

Marcia H. Randall

Dana Rasmussen

Sharlyn Rayment

Regional Arts & Culture Council

Mrs. Dianna L. Remmers and Mr. Walter E. Remmers

Patricia Reser and William Westphal

Elizabeth and Jordan Rice

Richard and Janet Geary Foundation

Martha and David Richards

Anne and Robert Richardson

David and Madie Richenstein

Bob and Marilyn Ridgley

Debbie Rink

Robert Lehman Foundation

Janet L. Roberts

Bennett Roberts

Rita J. Robillard

Rockefeller Brothers Fund

Rogers Machinery Company, Inc.

Shirley Roggen

Louise Roman and Will Bruder

Steven Romero and Martie Kilmer

Lyndsey Romick and Simon Baugher

Michael E. Rose and Charlotte Aborn

Rose E. Tucker Charitable Trust

Laurie Rosen

Rosenthal-Cohen Foundation

Alex Paul and Laura Ross-Paul

Steve and Jean Roth

Gabrielle Roth

Roth Charitable Foundation

Marilyn Rudin and Richard Testut

Georgina Ruff

Louis and Julia Ruggiere Ruri

Marywynn Ryan and Kenton McSween

Robert Sack and Corinna Campbell-Sack

Dr. Patricia E. Sacks, M.D.

Lois Safdie and Charles Bader

David Saft and Laura G. Lehrhoff

Dov and Amelia Sagiv

Carrie Sammons

Robert and Marla Sandberg

Mr. Nathan Sasaki

Christine and Steven Satterlee

Anish Savjani

Elizabeth S. Sazie and Ken Brown

Jeanne and Stephen Schapp

Lois T. Schnitzer

Marilyn Easly

Jan Schollenberger

Gwendolyn and Ty Schrader

Gale A. Schulz

John and June Schumann

Jack and Barbara Schwartz

Patricia and David Schwartz

Marcy Schwartz

Wayne Schweinfest

Laura H. Scott and Raven Lloyd

Lois M. Seed and Daniel M. Gibbs

Grace Serbu and Ivan Gold

Bonnie Serkin and Will Emery

Jo Shapland

Jessie Ly and Peter Shaw

Brett and Stacy Sherman

Peter Shinbach

Thomas and Megan Shipley

Thomas and Mary Shreve

Carol and Tom Shults

Sara Dickerman and Andrew Shuman

Craig and Susan Siegel

Michael and M. Kelly Sievers

Jenny Silberger and Nathan Schultz

Barbara and Phil Silver / Silver Family Foundation

Karl Simon and John A. Coutant

Mary K. Sinclair

Dr. Ellen Singer and Eamon Molloy

Mortenson Construction

Jaymi and Francis Sladen

Brianna and Niilo Smeds

Pat Smith

Wilson W. Smith III

Sarabelle Hitchner and Thomas Snell

Angela and Rex Snow

Patricia Snowfox

Amy and Paul Snyder

Iris and Alvin Snyder

Soho House Portland

Linda Sowray

Karen and John Spencer

Michael and Sara Spink

Nancy Stark

Sue Stegmiller

Cooper Dubois and Sanda Stein

Maureen and Peter Steinberger

Kathleen Stephenson-Kuhn and Elizabeth Kuhn-Wilken

Stevens Fine Art, LLC

Nick and Susan Stier

Stoney Road Press

Nicole Stratton and Trevor Kaul

Douglas Stuart and Samantha Schoenfeld

Brenda Meltebeke and Scott Stuart

Wayne and Anna Stumpf

Vanessa Sturgeon

Caroline Sullivan

Angela Summers

Linda Kozlowski and Mr. Bill Supak

Shirley and John Sutton

Linda Suyama

Margie and Ken Swieca

Ambassador Charles J. and Caroline H. Swindells

Laura Szeliga

Kim Cassel Tardie

Patrick and Frances Taylor

The Caryll M. and Norman F. Sprague Foundation

The James F. and Marion L. Miller Foundation

The Mildred E. and Harvey S. Mudd Foundation

The Robert and Mercedes Eichholz Foundation

The Roundhouse Foundation

The Smidt Foundation

The Tolman Collection of Tokyo

Judy and Donald Thompson

Marta and Ken Thrasher

Greg and Cathy Tibbles

Cheryl and Lloyd Tolle

Julia Tomes and Art Wells

Rena Tonkin, Cheryl Tonkin, and Marv Tonkin Leasing Company

Margaret and John Toppel

Kay Toran and Traci Rossi

Megan Tosh and Alex Hurst

Kelly Toshach

Stephanie Tran

Robert Trotman

Stephanie Trotter and Tom DeBeauchamp

Scott R. Diaz and Jenny Tsai

Randy Tucker and Sarah Ames

Judith and Reinier Tuinzing

David and Carol Turner

Eric Udd

Mary E. Ulmer and John Cowles

Lisa Vaghi-Ellis and Steven Ellis

Pat and Tom Valente

Kristine and Jay Vallandingham

Maria Van Houten

Lindsay Van Nice and Anthony Van Nice

Van Nice Foundation

Richard Varan and Nina Lee

Mary Verdurmen

LEFT: DJ Ambush of The Numbers FM at PAM Members Night; RIGHT: Members Night at the Tomorrow Theater..

Christine and David Vernier

VIA Art Fund

George Vriese and Kathryn Grimes

Tracy Zitzelberger and Kevin Wagoner

Elizabeth Waiters Jones

Lola Wallace and Adam Parkinson

Annie Walsh and Jay Bockelman

Veloce Racing

Linda and Richard Ward

Jean S. Kempe-Ware and Gordon M. Ware

Nell Warren and Greg Misarti

Jenny and James Watson

Jeffrey C. Jones and Donna J. Wax

Amy Weaver and Jeff Fisher

Marta Poore and Bob Weinstein

Sheryl and Madeline Weissman

Barbara West and John Taylor

Mr. Walter E. Weyler

White Pepper

Erin Whitlock and Patrick Beard

Jo Whitsell

Jan A. Widmayer

Lesley Wilburn

James Wilcox

Peter and Julia Wildes

Alison Wiley

Juliet F. Williams

Kim Williams and Chris Rauber

Marsha and Rashad Williams

Mr. and Mrs. Richard Williams

Jacqueline and William Willingham

Jean Wilson

TRIBUTE GIFTS

Anonymous in Honor of Alix M. Goodman

Drs. John Benson and Virginia Tilden in Honor of Greg and Cathy Tibbles

Mort Bishop and Mary Lang in Honor of Alix M. Goodman

Elizabeth Carnes in Memory of Eva Rickles

Cameron and Dick Davis in Honor of Betsy Warren’s Birthday

Michelle Farber in Memory of T Rex

Tom Fawkes in Memory of Donald Jenkins Travers Hill Polak and Vasek Polak, Jr. in Memory of Jim Winkler

Bernadette Janet and Adrian Dee in Honor of Janet Grissett

Sanjiv and Cindy Kaul in Honor of Alix M. Goodman

The Keller Foundation in Memory of Ruth and Dick Keller

Kathryn Longstreth-Brown in Memory of Donald Jenkins

Janice E. Quivey in Memory of Donald Jenkins

C. William and Meredith Savery in Memory of Donald Jenkins

Susan Schnitzer and Greg Goodman in Honor of Alix Goodman’s Birthday

Victor Winkler / Metro Metals Northwest

Nicolas Witschi and Margaret Dupuis

Lawrence and Diana Wolff

Gordon and Ann Woodward

Dr. Isabel J. Wyss and Todd Ebersole

Gary Young

Rebecca Youngstrom and Ron Atwood

Nancy and Herbert Zachow

Greg R. Zarelli and John Bush

Elene Zedginidze

Frances Zeman and Teddy Rothstein

Shelby Zepeda and Karl LeClair

Nancy Ziegler Nodelman and Dwight Strong

Tracy and Wren Zitzelberger

Arleen and Robert Zucker

Floyd Zula and Kelly Laslie

Dianne and Eric Zupunski

Anonymous (6)

PLAN YOUR LEGACY IN ART

Supporting the Portland Art Museum through a planned gift is a wonderful way to leave a lasting legacy and ensure that future generations can continue to enjoy and be inspired by the beauty of art. Here are some easy steps to guide you through the process:

• Understand Planned Giving Options: Familiarize yourself with different planned giving options such as bequests, charitable gift annuities, and charitable trusts. Each option has its unique benefits and implications, so choose the one that best suits your financial and philanthropic goals. Visit pam.giftlegacy.com to learn more.

Peter W. Schweitzer in Memory of Jim Winkler

Alice and Wim Wiewel in Honor of Linda Andrews and Alix Goodman

Rena Tonkin, Cheryl Tonkin, and Marv Tonkin Leasing Company in Memory of Alan Baron Tonkin

We gratefully acknowledge our major supporters of Exhibitions, Learning & Community Partnerships, and the Museum Fund, who help make all of our work possible.

As of November 30, 2023

PRESENTING SPONSORS

Art Bridges Foundation

Mary and Ryan Finley

William G. Gilmore Foundation

Institute of Museum and Library Services

Mary and Pete Mark Family Foundation

The Laura and Roger Meier Family

The James F. and Marion L. Miller Foundation

LEAD SPONSORS

Mary and Cheney Cowles

Ann Flowerree / Flowerree Foundation

McGraw Family Foundation

Dorothy Piacentini

Pat and Trudy Ritz

MAJOR SPONSORS

Mary and Tim Boyle

Sarah Miller Meigs and Andrew Meigs

Oregon Arts Commission

Travers and Vasek Polak

The Reser Family Foundation

Patricia Reser and William Westphal

The Roundhouse Foundation

The Smidt Foundation

The Standard

Darci and Charlie Swindells

Mr. and Mrs. William A. Whitsell

Anonymous

SPONSORS

Allen Trust Company

Sharon and Keith Barnes

Endowment

Louis and Virginia Clemente Foundation

Kirk and Elizabeth Day

The Lamb Baldwin Foundation

Marie Lamfrom Charitable Foundation

Nancy Lematta

Northern Trust

Pamplin Foundation Endowment for the Arts

Rose E. Tucker Charitable Trust

Barbara and Phil Silver / Silver Family Foundation

Joseph E. Weston Public Foundation of the Oregon Community Foundation

• Consult With Professionals: Seek advice from financial and legal professionals to ensure your planned gift aligns with your overall estate planning strategy. They can provide valuable insights into tax implications and help you structure your gift in the most efficient way.

• Draft Your Will or Living Trust: If you’ve chosen to make a bequest, work with your attorney to update or create a will or living trust. Clearly outline your wishes, specifying the amount or percentage of your estate you’d like to donate.

• Inform the Museum: Reach out to the Museum’s Development Department to express your intent. We are happy to provide additional information, answer any questions you may have, and assist in facilitating the process. Call us at 503-276-4365 or email us at development@pam.org.

• Review and Update: Periodically review your estate plans and make adjustments as needed. Life circumstances and financial situations can change, so it’s important to ensure that your planned gift remains in line with your wishes.

By making a planned gift to the Portland Art Museum, you become a vital part of sustaining a vibrant arts culture for years to come. Your generosity will contribute to the preservation and accessibility of art, leaving an enduring impact on both the institution and the community it serves.

Utagawa Hiroshige (Japanese, 1797–1858), Kii Wakanoura Wakanoura Bay in Kii), from the series Rokujūyoshū meisho zue Famous Places in the Sixty-odd Provinces), 1855, 9th month, color woodblock print on paper; ōban nishiki-e, image: 13 7/16 in x 8 7/8 in; sheet: 14 in x 9 7/16 in, The Mary Andrews Ladd Collection. Portland Art Museum, Portland, Oregon, 32.541

SHOP FOR ART

The Portland Art Museum’s retail and rental programs help support our mission of engaging and inspiring the community through 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 less than $50 for a three-month 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 join us on Friday, April 26, 4 to 7 p.m., for the opening of the Gallery’s Spring Member Artist Show. There will be more than 200 newly acquired works available for rental or purchase.

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.

Museum Store

The Museum Store has temporarily moved while our beautiful new Store adjacent to the Mark Rothko Pavilion is being built. We will reopen on March 28 in our new location to the left as you come in the front entrance of the Museum on Park Avenue. The Store remains open during Museum visitor hours—please come and see us!

The Museum Store is also online at store.pam.org, with shipping and curbside pickup, and it’s easier than ever to browse the eclectic selections that the Store is known for. Use discount code MEM1219 to receive your 10% member discount on the same great merchandise you’d see in-store, online!

You can support the Museum by shopping in our Museum Store on site or online. 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

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, including the Museum’s beautiful Kridel Grand Ballroom (pictured), featuring incredible lighting and audiovisual systems for a state-of-the-art experience. Our venue provides an event experience that your guests will never forget. Visit events.portlandartmuseum.org.

THANK YOU!

We want to express our sincere thanks for your support of the Portland Art Museum. Your generosity has been crucial in keeping our cultural space alive and thriving. Your contributions have made a significant impact, enabling us to continue inspiring creativity and enriching the lives of our visitors. We are genuinely grateful for your ongoing support, which plays a vital role in the success of our Museum. Thank you for being a part of our community and for helping us maintain a vibrant space for the arts.