Portal, Summer 2022 by Portland Art Museum

SUMMER 2022

perspectives opacity of performance pam cut // center for an untold tomorrow

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FROM THE DIRECTOR

Cinema Unbound Outdoor Movies

EXHIBITIONS & INSTALLATIONS

VR to GO Co:Laboratory

Perspectives Opacity of Performance: Takahiro Yamamoto

PAM CUT

Making a Mark: Contemporary Drawings

MEMBERS & PATRONS Just for Members

Shades of Light

Patrons

APEX: Sharita Towne and A Black Art Ecology of Portland

Make Art Your Legacy

AUX/MUTE Gallery Dakota Modern: The Art of Oscar Howe

GIFTS & GATHERINGS

Jeffrey Gibson: They Come From Fire 13

NEWS & NOTEWORTHY PAM CUT // Center for an Untold Tomorrow BRENDA ARTS Community Engagement Update Northern Trust Prize Portrait of Barone Ignazio de Pizzis Paseo Goodbye to Creaky Floors

PORTAL, VOL. 11, ISSUE 2

Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-276-4249. For general information call 503-226-2811. The mission of the Portland Art Museum is to engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations. The Portland Art Museum recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah, and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence. COVER: Emery Barnes, BLM Rose City, 2020, pigment print, courtesy of the artist, ©Emery Barnes; Linneas Boland-Godbey, Portrait of Geo, 2020, pigment print, courtesy of the artist, ©Linneas Boland-Godbey; Opacity of Performance cast during rehearsals, Photo: Jon Richardson; Marco Maggi (Uruguayan, active United States, born 1957), Turner Box, 2005, paper in Plexiglas, 11 1/2 in x 9 in x 2 in, Gift of Sally and Wynn Kramarsky.

PORTLAND ART MUSEUM

FROM THE DIRECTOR Our Director of Learning and Community Partnerships, Stephanie Parrish, once said to me that ultimately the goal of our art museum is to be “of” the city and not just “in” it. Although it seemed a simple idea at first, I came to realize it was a profound concept. Being “of” our community requires museum leaders to be continually reflective, conversant with, and responsive to the happenings of our community. Perspectives, an exhibition thoughtfully coordinated by Julia Dolan, Ph.D., The Minor White Curator of Photography, in partnership with artists Emery Barnes, Joseph Blake, Linneas Boland-Godbey, Daveed Jacobo, Mariah Harris, and Byron Merritt, is just one of several examples of our ongoing work to be a relevant part of the community in which we serve. The intensity of the protests of 2020 motivated thousands, including important responses from the artists we are honored to highlight in this exhibition, many of whose work has never been seen before in a public exhibition. Perspectives will facilitate needed conversations around the issues being debated as well as simultaneously show the complexity and the beauty of the moment. I am extremely grateful to the artists and Julia for bringing this landmark exhibition to our walls. Although Perspectives is contemporary, it builds upon historical precedents that captured protest with art photography—from the Civil Rights Movement to the Vietnam War to the more recent Occupy Wall Street. Similarly, the changing installations in our APEX exhibition Sharita Towne and A Black Art Ecology of Portland and our partnership with The Numberz FM, as well as the evolution of our film program—recently renamed PAM CUT // Center for an Untold Tomorrow—are all inspired by the past and made relevant with a community responsiveness to their focus, ensuring the Portland Art Museum is not just “in” our community but “of” it. As we continue to emerge from the past two years, I am deeply grateful to our members, staff, trustees, and community who are unwavering in their belief and support of our Museum. I know our future is bright, and I look forward to welcoming you back to our Museum over the coming months to engage with the timely art and programs we will be offering. Thank you and be well,

Brian J. Ferriso Director and Chief Curator Joseph Blake, Untitled, 2020, pigment print, courtesy of the artist, ©Joseph Blake.

EXHIBITIONS & INSTALLATIONS

During the summer of 2020, Museum staff received requests from community members to preserve the plywood window coverings painted with memorials to Black folks killed by police. A similar appeal arrived via email that June: Could PAM recognize the important work of six Black and Indigenous Portlanders who were documenting the protests? First imagined as an online exhibition, and then as an outdoor installation during the Museum’s pandemicrelated closures in 2020 and 2021, Perspectives will now go on view in the Museum’s special exhibition galleries this summer.

PERSPECTIVES JULY 16 – NOVEMBER 13, 2022

This summer, the Portland Art Museum presents a special exhibition of more than 60 works by local BIPOC photographers made during the Black Lives Matter protests in 2020. Artists Emery Barnes, Joseph Blake, Linneas Boland-Godbey, David (Daveed) Jacobo, Mariah Harris, and Byron Merritt, along with curator Julia Dolan, share their perspectives and purpose in this exhibition: In solidarity with the national response to George Floyd’s murder during the late spring of 2020, Portlanders were called to show up for Black lives and dismantle white supremacy— inherently perpetuated by our conventional systems and institutions that for centuries worked against Black human beings. Through the growing pains of organizing and sustaining hundreds of direct community action events, the fire in Portland never ceased to burn. The fire that fueled righteous rage and passion in the hearts of those who participated, bore witness, and were inspired to make change. Captured here are various moments during the 2020 Black Lives Matter protests through

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the eyes of local BIPOC artists in Portland, Oregon. We ask that you follow along this journey, relive these moments, listen to the stories shared, and open yourself up to the perspectives represented. There is a great transformation underway, and it is never too late to be on the correct side of history. Together in this mass realignment, we uplift the values of our cause and the people for whom we stand up—Black human beings. —Emery Barnes, Joseph Blake, Linneas Boland-Godbey, Daveed Jacobo, Mariah Harris, Byron Merritt

More than 15 million people in over 2,500 American cities and towns rallied against racism during the summer of 2020, and protests quickly spread throughout the world. When Portland’s protests became a sustained resistance, national and international media briefly descended on Portland, while the city’s own BIPOC photographers recorded what they witnessed for weeks and months on end. Many of these images, posted to social media platforms including Instagram and Twitter, ricocheted around the world and further encouraged the global protest movement against racism. The six photographers included in Perspectives are at different points in their careers, and their subject matter is wide-ranging. What binds them together is photographic skill and a first-person understanding of racism aimed at African Americans, Indigenous peoples, and People of Color living in the United States. Biased systems, including the disproportionately white racial makeup of newsrooms, shape and reinforce perceptions of these communities of color. Expanding the range of photographs we

view beyond those made by photojournalists and image selections made by photo editors, particularly during events that directly relate to communities of color, is critical to a deeper understanding of situations like the 2020 Portland protests. Daveed Jacobo’s grainy, visceral photographs capture some of the more dangerous moments of the Black Lives Matter protests; Joseph Blake’s drone images remind us of the many thousands of people who united to stand

against racism in Portland; Emery Barnes’ pictures point to the risks of protesting in public in an era of sophisticated surveillance systems; Byron Merritt spent weeks making powerful portraits at the Apple Store mural wall; Linnaeus Boland-Godbey reminds us that the protests took place during a briefly bucolic summer infused with deep societal pain and a worldwide pandemic; and Mariah Harris balanced expressions of grief with beauty and solidarity. Together, these six photographers move beyond single media images that continue to TOP LEFT: Mariah Harris, Tears for Breonna, 2020, pigment print, courtesy of the artist, ©Mariah Harris; Byron Merritt, Untitled, 2020, pigment print, courtesy of the artist, ©Byron Merritt; ABOVE: Emery Barnes, Solidarity, 2020, pigment print, courtesy of the artist, ©Emery Barnes; Joseph Blake, Untitled, 2020, pigment print, courtesy of the artist, ©Joseph Blake; Linneas Boland-Godbey, Portrait of Geo, 2020, pigment print, courtesy of the artist, ©Linneas Boland-Godbey; Daveed Jacobo, Solidarity, 2020, pigment print, courtesy of the artist, ©Daveed Jacobo.

shape the understanding of this moment in our city’s history, providing depth, nuance, and hope for a more just and equitable future. —Julia Dolan, Ph.D., The Minor White Curator of Photography

Generous donations to the Museum’s Exhibition Series and Artist Fund make exhibitions like these possible. Additional support for the exhibition’s community programming provided by Cheryl Tonkin, Rena Tonkin, & Marv Tonkin Leasing Company, in memory of Alan Baron Tonkin.

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OPACITY OF PERFORMANCE: TAKAHIRO YAMAMOTO JUNE 16–19 & JUNE 23–26, 2022

In June, performance returns to the Portland Art Museum with the premiere of Opacity of Performance: Takahiro Yamamoto. Delayed by the COVID-19 pandemic, this commissioned dance installation generously supported by the Oregon Community Foundation’s Creative Heights grant initiative will take place over two consecutive weekends, June 16 to 19 and June 23 to 26. The work unfolds over five hours each day, beginning at noon in the Meier Gallery of European art. Museum visitors are invited to spend as much or as little time as they wish observing the dance’s cycles and repetition. Opacity of Performance investigates questions of visibility and objectification through the lens of dance. This live performance installation explores how much the presence of an audience serves to validate a dancer’s self-awareness. It also considers what physical and emotional effects dancers and viewers experience when visibility, activity, and attention vary over an extended duration. Three movable curtains made from transparent, translucent, and opaque fabric divide the gallery. Dancers perform solos and group choreography amidst them, deciding when to open a curtain to reveal themselves, or close it to conceal themselves from the audience’s view.

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Choreographer Takahiro Yamamoto brings a conceptual approach to dance. For this work, he, dramaturg Ben Evans, and the eight other cast members created the movement collaboratively. Together they engaged the philosophical notion of opacity, which has been a deep research subject for Yamamoto. Martiniquan philosopher Édouard Glissant defined opacity as what is unknowable to others in one’s subjectivity. For individuals frequently objectified by the dominant culture, cultivating opacity is a means to maintaining a complex selfhood and to resist being identified by a single attribute such as race, disability, gender expression, or sexual orientation. Yamamoto embraces Glissant’s poetic and political resistance. The work contemplates both the power and the danger of being seen—and not seen—specifically for people of diverse identities who are often erased, marginalized, and endangered by the structures of power and those who hold it.

Public Programs

Cast: Intisar Abioto, Roland Dahwen, Nolan Hanson, Garrick Imatani, Sydney Jackson, Irene June, Stephanie Schaaf, Emily Squires, and Takahiro Yamamoto. Ben Evans, dramaturg. Garrick Imatani, curtain production.

On Opacity

This exhibition is accompanied by a unique publication of essays, an interview, drawings, scores, and other visual materials, available for purchase ($25). Contributors include Ben Evans and Takahiro Yamamoto, Ka'ila Farrell-Smith, Lin Hixson and Matthew Goulish, Jang Wook Huh, Jmy James, Sara Krajewski, sidony o’neal, Samita Sinha, Takahiro Yamamoto, and Laurie Young.

The ideas of philosopher and poet Édouard Glissant (1928–2011) have been influential in political thought, social critique, creative inquiries, and cultural criticism in various corners of the world ever since his Englishtranslated publication of Poetics of Relation became available in 1997. One influential idea he describes is opacity: what cannot be known in identity, phenomena, and human relationship. Glissant’s thoughts and propositions are vital to the foundational research for Takahiro Yamamoto’s Opacity of Performance. For this public conversation, Yamamoto invites writer and performance theorist Joshua Chambers-Letson, Associate Professor of Performance Studies at Northwestern University, to join him in reflecting on what makes Glissant’s proposition so resonant yet so ungraspable.

Curated by Sara Krajewski, the Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. Lead support provided by the Oregon Community Foundation’s Creative Heights Initiative with additional support from the Museum’s Art Gym Endowment. Creative development supported by MacDowell, lumber room, the Henry Art Gallery, Velocity Dance Center, the Portland Institute for Contemporary Art, and the Bogliasco Foundation.

Performance in Museums JUNE 18, 2022 10:30 A.M., MEIER GALLERY AT PORTLAND ART MUSEUM

Perhaps museums need performance…but does performance need the museum? This roundtable conversation will explore issues of presenting performance in museums from the curatorial and artistic perspectives. Participants are Los Angeles–based artist taisha paggett, Associate Professor in Dance at University of California Riverside, and Opacity of Performance director/choreographer Takahiro Yamamoto, with PAM curator Sara Krajewski. Questions from the audience will be invited to further the discussion. Audience members will be invited to stay for Opacity of Performance beginning at noon.

JUNE 25, 2022 10:30 AM, MEIER GALLERY AT PORTLAND ART MUSEUM

Opacity of Performance cast during rehearsals; Photo:Jon Richardson.

BUILDING A MYSTERY: TAKAHIRO YAMAMOTO’S REWARDING TRANSFERENCE OF OPACITY BY BEN EVANS

I have known Takahiro Yamamoto since 2006. We met at an experimental theater program and, after only knowing each other for a few weeks, took a flying leap together and formed a performance company, madhause. We grew up together as young performing bodies and minds, informing and learning from each other, creating a series of performances that amalgamated our respective sensibilities. Taka was always at home with improvisation—as a mode of being rather than simply a movement practice. He was drawn to a certain legacy of post-modern dance that included close studies of Steve Paxton and Mary Overlie. In parallel, he was obsessive about American pop culture: The Fresh Prince of Bel-Air; Will & Grace; Friends; Beverly Hills, 90210; ’N Sync. His choreography began to reflect this overlap. In doing so, he created a singular practice. Rather than compartmentalize his movement technique and choreographic strategies, he intentionally chose to affect them with reference: deconstructed gestures from sitcoms, the precision of ’N Sync, a phrase pulled from an archival video of a re-creation

of a Steve Paxton solo…. These references began to imbue his work with an enigmatic quality: an inside joke here or there, an inner coding, a hidden logic. And in response to a certain call for art to be legible, transparent, given, Taka has always unapologetically turned toward mystery, a curiosity about the very point at which something becomes enigmatic. It’s not that Taka doesn’t care about the spectator. It’s that he cares specifically about the rigor of the work itself—and the turn toward making that rigor visible, as performance. His interest in how it “looks” or in how compelling it is rests at the very point at which his performances are deemed watchable or interesting. He remains in the question. “When do you get bored?” he asks. With this query, he doubles his workload: He’s interested in what happens to our attention and how to anticipate when and where it might drift. And that’s where he digs deeper. There is a risk in this, and Taka knows it. This anticipates a “collateral interest”—those spectators who meet Taka’s own interests, as observers. This spectator “meets” the performance in time, the connection of

experience that contains performer, spectator, and content (script, song, dance). I don’t believe there to be an ideal spectator for Taka’s Opacity of Performance, except maybe those who are patient enough to stay for a little longer than most. That becomes, I would say, a rewarded audience. Opacity of Performance, despite negotiating these qualities of mystery, is a deeply personal work. Taka’s body is one that has been: immigrant, racially profiled, tokenized, sexualized, loved, enjoyed, observed, hugged… so when I think about meaning—or even write it here—it is a meaning that is entirely singular, and sits singularly in Taka’s own body, and, as with all processes of choreography, now also sits in the bodies of the performers. The work is an embodied translation, a transference of opacity—one that we are all privileged to watch. Los Angeles–based artist and designer Ben Evans is the dramaturg for Opacity of Performance and collaborates with Takahiro Yamamoto in the performance company madhause. A conversation about their process is included in the exhibition publication.

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MAKING A MARK: CONTEMPORARY DRAWINGS MAY 21 – NOVEMBER 20, 2022

Modern and Contemporary Art, Floor 4 Making a Mark features contemporary works on paper gifted to the Portland Art Museum by noted collectors of drawings Werner H. and Sally Kramarsky. The exhibition showcases 21 artists whose drawing practices emphasize process and concept. The exhibition illuminates the wide variety of expressions possible when materials and tools take center stage. Werner H. Kramarsky, who passed away in 2019, described his attraction to drawings as grounded in his curiosity: “I really start out by looking at something and saying, ‘How is it made?’ ... What happened when the artist put the pencil or pen or brush to paper? And because it is almost impossible, when you work on paper, to correct it, that initial moment is crucial. It interests me that somebody had the courage and the idea to make that original mark.” A playful mix of techniques underscore the works in the exhibition. For many years, Allyson Strafella has used a typewriter as a drawing

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instrument. To create Pair, she repeatedly struck the underscore key to make her marks on carbon paper, the old-fashioned way of making a duplicate copy by transferring text to an underlying piece of paper. Untitled has a similar look, but here Strafella drew lines by hand using a knitting needle and a straight edge, moving quickly across the page. Linda Francis came to art through philosophy and science, especially mathematics. Her untitled drawing from 1993 was created on a Macintosh computer and is an early example of technology blurring the boundaries between media.

Making a Mark also reveals the many directions contemporary artists have taken the 20thcentury art movements of minimalism and conceptual art. Formalism and idea-based works have become the foundation for the divergent creative paths of many contemporary artists. Arnold Kemp balances the symbolic and the concrete in his drawing Daydream Nation. The solid blocks of black and white color might read as a formalist abstraction. The two forms also evoke idioms (black-and-white), opposites (black, white), and as Kemp asserts, a metaphor for the social and political forces of partisanship and race relations in the United States. By borrowing the title “Daydream Nation,” Kemp is describing a country “deluded by wistful fantasy,” as critic John Motley writes. Prussian Blue by Dutch artist Vincent Hamel offers a calming retreat into pure color. As the Museum’s graphic arts curator Mary Weaver Chapin explains, “Hamel limits himself to a modest scale and materials, yet he produces captivating work that exhibits his deep love for color and tactility. Here, he used a wax crayon to build up lush layers of pure pigment. The image is both powerful and soothing, evoking the deepest blues of our natural world with rhythmic strokes.” Curated by Sara Krajewski, the Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. Support for the exhibition provided by Exhibition Series sponsors.

TOP LEFT: George Negroponte (American, active Sweden, born 1953), Untitled, 1997-1998, diptych; watercolor on paper and acrylic on paper, each sheet: 9 in x 12 in, Gift of Sally and Wynn Kramarsky, 2009.13.10a,b; Allyson Strafella (American, born 1969), Untitled, 1997, transfer paper on vellum, sheet: 6 5/8 in x 5 7/8 in, Gift of Sally and Wynn Kramarsky, © unknown, research required, 2017.44.11; Marco Maggi (Uruguayan, active United States, born 1957) Turner Box, 2005, paper in Plexiglas, 11 1/2 in x 9 in x 2 in, Gift of Sally and Wynn Kramarsky.

ASIAN ART GALLERIES REOPEN WITH NEW KOREAN AND JAPANESE INSTALLATIONS surface of an object, or even travels through it; or the interplay of light and dark may be the very substance that gives an image form. Between Organism and Environment (opening July 30, 2022) presents modern Japanese prints that were recently acquired and have never before been on view. This installation places a special focus on the dynamic forces of nature. From fantastical renderings of natural disaster to abstract compositions evocative of place and feeling, these works tell different stories about humanity’s relationship to the natural world. Between Organism and Environment delves into the ecological relations between self and the world, aspects of nature and the printed image.

The Museum’s Asian Art galleries reopen this summer, giving visitors the chance to enjoy several fascinating new installations from our Korean and Japanese art collections. Shades of Light: Korean Art from the Collection (on view through December 31, 2022) brings together ceramics, photography, textiles, printmaking, and sculpture. Juxtaposing objects like 12th-century celadons with contemporary photography and mezzotint, this installation gestures toward the breadth of Korean creative practice.

The exhibition features the superlative celadon glazes of Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Also included are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who explore these historical traditions in their own ceramic practice. The exhibition particularly attends to the idea that light is often integral to our appreciation of the object. For instance, a sculpture might rely on electrical illumination, while our appreciation of ceramics and textiles may be determined by how light reflects off the

TOP: Kim Yikyung (Korean, born 1935), Moon Jar, 2017, porcelain, 19 1/2 in x 18 11/16 in, Museum Purchase: Funds provided by Asian Art Auction Proceeds, 2017.53.1; Chiho Aoshima (Japanese, born 1974), Magma Spirit Explodes, Tsunami is Dreadful (detail), 2004, chromogenic print mounted to Plexiglas, 34 1/8 in x 117 in (each), Gift of Dominique Lévy, 2021.68.1a,b.

In early fall, a third installation celebrates recent acquisitions of Japanese art in all media. Highlights of Japanese Art: New Acquisitions (opening September 10, 2022) features a diverse selection of early modern calligraphy and painting, vibrant contemporary ceramics, sculptural bamboo art, ukiyo-e prints, and more. Organized by the Portland Art Museum and curated by Jeannie Kenmotsu, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art. The Museum is grateful to the Japan Foundation for recent improvements in the display case glass and upgraded lighting in our Asian Art galleries.

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APEX: SHARITA TOWNE AND A BLACK ART ECOLOGY OF PORTLAND ON VIEW THROUGH OCTOBER 30, 2022 Sharita Towne creates installations that are multi-voiced, poetic, and informative. As a transdisciplinary artist, Towne has built a practice steeped in the work of collaboration, cultural organizing, and arts infrastructure building. In its current form and second rotation in Towne’s yearlong exhibition for the APEX series, the artist continues in the same spirit of showing work reflecting projects that were created with community members. In this concentrated and reflective second half of the exhibition, the collective projects bring together a landscape of Black geography of Portland. Each project featured offers a vignette of the larger efforts of community organizing, and months and years of planning.

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Some of the projects include partners such as Justice for Keaton Otis to create a memorial; working with Jefferson High School students in response to and in reflection of racial inequality; beautiful printed risographs for Patricia Vázquez Gómez and youth artists in Northeast Portland of Yucatec Mayan heritage; and in this second rotation, the completed film of Albina Queens. Sharita Towne is a multidisciplinary artist and educator based in Portland. Born and raised on the West Coast of the U.S. along Interstate 5 from Salem, Oregon; to Tacoma, Washington; and down to Sacramento, California. She is most interested in engaging local and global Black geographies, histories, and possibilities. In her work, a shared art penetrates and binds people—artists, audience, organizers, civic structures, sisters, cousins, and landscape—in collective catharsis, grief, and joy. Towne holds a BA from UC Berkeley and an MFA

from Portland State University. Her work has received support from organizations including Creative Capital, the Fulbright Association, Art Matters, The Ford Family Foundation, Oregon Community Foundation, Oregon Humanities, Oregon Arts Commission, The Miller Foundation, the Regional Arts and Culture Council, the MRG Lilla Jewel Award, the Andy Warhol Foundation for the Visual Arts, Open Signal, SPACES in Cleveland, and the Independent Publishing Resource Center in Portland. Most recently, Towne was awarded the Fields Artist Fellowship by Oregon Humanities and the Oregon Community Foundation. Organized by the Portland Art Museum. Supported by The Arlene and Harold Schnitzer Endowments for Northwest Art, The Ford Family Foundation, the Oregon Community Foundation, and Exhibition Series Sponsors.

LEFT: Sharita Towne, Making a Living Memorial for Keaton Otis: Street Kintsugi, 2022. Mixed-media sculpture, risograph print, and neon, courtesy of the artist, L2021.51.20 © Sharita Towne; Sharita Towne, Untitled, 2022. Mixed media, risograph prints and clipboards, curtesy of the artist, L2021.51.23 © Sharita Towne.

AUX/MUTE GALLERY THROUGH OCTOBER 30, 2022

This summer, the AUX/MUTE Gallery concludes a yearlong exhibition series with Album Intro 07:22 (July 2 – October 30, 2022), a showcase of works by artists represented in The Numberz FM’s growing art collection focused on Black and Brown artists. Artists on view include Alice Price, Michelle Lepe, Oluwafemi Olatunji, Ivan McClellan, Koren Martin, and others. The show is the culmination of the station’s journey in the development of not just its collection but also the artists, with some exhibiting for the first time. The AUX/MUTE Gallery, presented by The Numberz FM, aims to support BIPOC artists by reducing barriers to representation in historically white and classist institutions like art museums. The name is derived from the history of marginalized groups being MUTED in their ability to tell their own stories and share their work within the art world. This space gives them the AUX, the open pathway or signal, into conveying their truths, their passions, and their art. Designed to evoke rooftop and urban life vibes, the Air Streaming Rooftop has served as a

performance area for local and touring acts. On deck this summer are Robert McCullum, Ben Boutros, Kaylin Balogun, Cayl Austin, DJ Ambush, and Sissy Moon. Also coming soon is The Stay the Course Project, developed in response to the repeated vandalism of the Black Lives Matter banners in the Museum courtyard. Ten of these vinyl banners were sliced apart, ripped, and torn down in protest of the Museum’s expression of solidarity with the Black community. Looking to capture the moment and create a discussion around these attacks, DJ Ambush and designer Robert McCullum collaborated on the idea to turn the vandalized banners into functional, beautiful accessories. The accessories will be available in The Numz Bodega as part of a limited release. With new merchandise dropping every few weeks in The Numz Bodega, visitors can purchase T-shirts, candles, hats, jewelry, bags, and more from local BIPOC creators. Expanding the bodega culture love, the AUX/ MUTE gallery space is sporting new photo

TOP: Oluwafemi OlaTunji, Honey Supreme A2, 2021, Digital Print; Alice Price, Him, 2022, acrylic on canvas. Images courtesy: The Numberz FM Collection.

murals depicting bodega scenes from around the country. Photographers include Koren Martin (Philadelphia, Pennsylvania), Michelle Lepe (Portland, Oregon), Clarence Pearsall (Chester, Pennsylvania), Darnell McAdams (Cleveland, Ohio), Victoria Ford (Washington, DC), Andreas Branch (Los Angeles, California), and Lo Braden (Detroit, Michigan). “As our work becomes more expansive, we hope to continue to create ripples in areas of art and entertainment,” said DJ Ambush. “Areas where the Black community is normally relegated to exploitative relationships with their art. Now we’re beginning to see the fruits of our labor and the community at large is reflecting an understanding of the importance of our work. Alas, the mission remains the same… #LIBERATEDBLACKMEDIA.” Support for the AUX/MUTE Gallery, presented by The Numberz FM, was provided by grants from the Oregon Cultural Trust and Regional Arts and Culture Council.

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FALL 2022 DAKOTA MODERN The Art of Oscar Howe OCTOBER 29, 2022 – MAY 14, 2023

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the 20th century’s most innovative Native American painters. Oscar Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. Through his inventive, abstract approach to painting, Howe proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction. His legacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes. Organized by the Smithsonian’s National Museum of the American Indian and the Portland Art Museum. Curated by Kathleen Ash-Milby, Curator of Native American Art at PAM. Major support provided by The Henry Luce Foundation. Additional support provided by the Wyeth Foundation for American Art. Support for the Portland Art Museum installation provided by the Institute for Museum and Library Services (grant MA-249741-OMS-21), The Standard, the Ed Cauduro Fund of the Oregon Community Foundation, and Greg and Cathy Tibbles. Dakota Modern is on view through September 11, 2022, at the National Museum of the American Indian in New York City before traveling to the Portland Art Museum.

JEFFREY GIBSON They Come From Fire OCTOBER 15, 2022 – FEBRUARY 26, 2023

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence, and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, and LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections. Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, is forging a multifarious practice that redresses the exclusion and erasure of Indigenous art traditions from the history of Western art as it explores the complexity and fluidity of identity. His artworks foreground affinities among patterns, colors, and materials long used in Native American art and those characteristic of contemporary Western and global art traditions. Organized by the Portland Art Museum and curated by Kathleen Ash-Milby, Curator of Native American Art. The fabrication of They Come From Fire supported by the National Endowment for the Arts; exhibition support provided by the Institute for Museum and Library Services (grant MA-249741-OMS-21), and the Jordan Schnitzer Family Foundation. Oscar Howe, Fighting Bucks, 1967. Casein on paper, 20 1/4 x 26 15/16 in. NMAI 27/0217, NMAI; Abstraction after Wakapana (detail), 1973. Casein on paper, 24 7/8 x 20 3/16 in., Oscar Howe Family Collection, University Art Galleries, University of South Dakota, HF OH 1, (all Howe images courtesy of the Oscar Howe Family); Jeffrey Gibson, They Come From Fire (installation design detail), courtesy of the artist.

NEWS & NOTEWORTHY

THE NORTHWEST FILM CENTER IS NOW PAM CUT // CENTER FOR AN UNTOLD TOMORROW The Portland Art Museum announced a new name for the Northwest Film Center during the third annual Cinema Unbound Awards on March 8—PAM CUT // Center for an Untold Tomorrow. The new name positions the 50-year-old organization for a more expansive future. Founded in 1971 as the Northwest Film Study Center, the Northwest Film Center has served as the leading film arts organization in the region with a robust exhibition program, classes, and equipment rental services.

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A lot has changed since the founding of the organization, but what remains is the spirit of being a place for artists and audiences to experience the magic of immersive cinematic storytelling in all its many forms. Committed to the mission of expanding for whom, by whom, and how cinematic stories in all forms are told, PAM CUT is participatory, vibrant, dimensional, and unbound. By delivering multimedia stories that expand minds and shift perspectives through shared experiences, PAM CUT invites all audiences to “go beyond” together.

“PAM CUT is a place, a space, and a state of mind that welcomes those who aren’t content to be contained,” said PAM CUT Director Amy Dotson. “We’ll still show movies, and offer classes for youth and adults to learn the tools of storytelling,” she continued. “And we will also seek ways to support and uplift a wide range of multidisciplinary artists, while introducing new audiences to what is possible. If you were a fan before, there is still something for you, and if you didn’t much take part, we welcome you too!” PAM CUT is a name rooted in history while also looking toward the future. Through the use of the classic filmmaker’s “Cut!” command, PAM CUT ties into cinematic arts. Short and to the point, PAM CUT is clear, efficient, and fun to say. However, as an acronym for Center for an Untold Tomorrow, CUT is also forwardlooking and hopeful to include voices from new forms of storytelling. CUT embraces both the organization’s past and future lineages. The new name also serves to fully embrace the interconnectedness with the Portland Art Museum. As a name and logo expression, CUT is paired with the Museum as PAM CUT.

Center speaks to a convergence; a gathering place where all are welcome, and where the emergent craft of tomorrow’s storytelling comes to life today. Untold speaks directly to the potential of storytelling to shape culture; and to our mission of expanding the reach of cinema as an art form and challenging for whom, by whom, and how stories can be told. Tomorrow speaks to our shared curiosity, optimism, and belief in a tomorrow shaped by narratives that take new forms, told by new voices, where all are welcome. Dotson, hired for her expansive vision of what the Film Center could be, and her deep knowledge of emerging media, has been moving the organization toward this moment since her arrival in September 2019. The pandemic accelerated a number of long-range strategic changes for PAM CUT. From evolving the definition of cinema and storytelling and offering more inclusive ways to connect with film arts, to consolidating resources more closely with the Museum, the time for renaming was right. “The relationship to the Film Center has always been vital to the Museum,” said Portland Art Museum Director Brian Ferriso. “PAM CUT represents an important way forward where visitors, members, artists, and community partners can experience not only the traditional moving image, but also a wide range of storytelling experiences and opportunities that challenge the traditional boundaries of the film medium.” The name change brings into alignment the evolution that is already underway. Audiences and participants of PAM CUT programming will be familiar with the current offerings and can look forward to more as the vision of for whom and by whom is expanded further. In-person screenings will continue, as will learning and mentoring opportunities through Co:Laboratory classes and Sustainability Labs.

PAM CUT Director Amy Dotson and Skylight Collective Partner Romani Lay talk about finding a name and vision for the 50-year-old organization.

collaborative. Our workshops, community surveys, and 1:1 interviews resulted in deep insight, clarity of purpose, and ultimately a name and identity that represents what the organization is, and also what it is becoming at the brink of an untold tomorrow.

How does a cinematic organization both honor its past and prepare for a rapidly changing future? Take a peek into the process.

Amy Dotson: Fifty years ago, the Film Center was founded as a place for artists and audiences to experience and explore the magical, immersive world of cinema. That spirit remains, but let’s just say a lot has changed. Changing for whom, by whom, and how cinematic stories are told is our mission, but every great story, including our own, can expand, grow, and take on new forms.

What does the new name represent and mean for the future? Amy Dotson: Of Portland, for all, PAM CUT exists to expand the story and write our next chapter alongside our vibrant creative community. Business as usual—be it a festival, a class, or moviegoing experience—will be a bit more unusual as we push the boundaries of what’s possible. No matter the format, the stories we champion and share will expand (and occasionally bend) minds. They will shift perspectives and encourage shared experiences that get us out of the house and into new dimensions, which we need now more than ever. We’re here for embracing storytelling in all its many forms from around the corner and across the globe, and also embracing the artists who want to express themselves in a variety of ways and don’t fit in neat little boxes. We’re here for audiences and communities who want to share experiences through our participatory, vibrant, ever-evolving and unbound programming too.

What were the highlights or challenges of the renaming process? Romani Lay: It was a unique and complex opportunity—beyond simply rebranding the NW Film Center, our priority was to create a clear connection between the organization and the Portland Art Museum. Our challenge was to align on a name that would elevate the center’s unique perspective, stand out among its contemporaries, and invite bold and creative participation. Every step of the process was

Why was a renaming needed?

Going forward, we’re anything but one-sizefits-all, as there’s no one way to experience PAM CUT and its offerings. Which Skylight absolutely nailed in working with us on a brand platform that reflects who we are today!

What did this project mean for the Skylight team, and how does it compare to other projects? Romani Lay: Whether we are helping Nike to enter the Metaverse or rebranding Electronic Arts, our strategic expertise in the entertainment category combined with technical artistry made this program the pinnacle of a lifelong dream to rebrand a beloved cultural institution. We are truly a collective of musicians, writers, and artists across all mediums. We are united by a passion for art, and for pushing the boundaries of our craft through technology. Art is also at the heart of every community, strengthening our cultural bonds and inspiring us to go beyond our own experiences.

PAM CUT Director Amy Dotson center stage at the 2022 Cinema Unbound Awards. PORTLAND ART MUSEUM

BRENDA ARTS BRINGS BLACK ART LENS TO MUSEUM IN ONLINE VIDEO SERIES The pivot to online programs at the height of COVID opened new avenues for the Museum to rethink what engagement looks like. Under the pressures of quarantine, a budding partnership developed between the Museum and artist and educator Spencer Garland of BRENDA ARTS, an interdisciplinary arts program focusing on media literacy and play for BIPOC youth. The partnership project is an educational online video series that views works in the Museum’s permanent collection through a Black history and Afrofuturist lens. Spearheaded by Garland, who describes his work as “standing at the intersection of 106 & Park and Jurassic Park,” BRENDA ARTS sits at the intersections of Garland’s studio and teaching practices, as he works to inspire students and youth to embrace their creativity and passion for the arts. Reflecting on his childhood, Garland notes, “I was always creating things in a lot of mediums as a kid. I was designing stuffed animals with my grandma or making digital art in Kid Pix, which was a

PORTLAND ART MUSEUM

children’s graphic design game from the early 2000s. I grew up in Idaho, was adopted, and had unregulated access to the internet—all of which allowed me to explore my niche interests and helped me create the work I make now. I was at the intersections of a lot of different worlds simultaneously and it manifests itself in interdisciplinary work that pulls not only from Black culture, but a bigger globalized context as well.” It is within this interdisciplinary vision that Garland created BRENDA ARTS and brought on collaborators including Venezuelan filmmaker María Moreno (pictured with Garland) to launch its projects. “I wanted to make a school that took the idea of interdisciplinary art and incorporated it into every lesson,” said the artist, who has previously taught workshops with PAM CUT. Part of Garland’s mission with these videos is to welcome a younger and more diverse audience into the Museum, while challenging notions of Museum etiquette and barriers around accessibility.

“I wanted Black kids to have their minds roam free and allow them to think beyond the label of what canonical Black art can be,” Garland said. “The show is a natural extension of that. I wanted people to see my world, my canon, and how all of my passions connect in one entity.” The first two videos on the Museum’s BRENDA LAB YouTube channel will be released in early summer, beginning with an introductory video to BRENDA LAB that spotlights Garland’s journey through playful animation and worldbuilding. Following this release, we are excited to share our first collaborative video that spotlights Wally Dion’s Green Star Quilt, a visitor favorite on view at the entrance to the Museum’s Native American Art galleries. Support for this program is generously provided by the Ed Cauduro Fund of the Oregon Community Foundation and our Learning and Community Partnerships sponsors.

LEFT: Spencer “The Wizard” Garland viewing Green Star Quilt, 2019, by Wally Dion (Canadian and Yellow Quill First Nation/Salteaux, born 1976), circuit boards, brass wire, copper tube, display: 75 7/8 in x 70 in, Museum Purchase: Funds provided in memory of Brian Gross, 2020.1.1; RIGHT: Garland with director María Moreno. Photography by Anthony Hou. Styling by Casey Helmick

performances in the galleries. They were joined by performances from Forest Grove High School’s Mariachi Tradición and the Latino Network’s Ballet Folklórico.

COMMUNITY ENGAGEMENT UPDATE Over the past six months, the Museum has engaged with visitors and the wider community in many impactful ways. This past winter and spring were brightened by outstanding exhibitions like Queen Nefertari’s Egypt and Frida Kahlo, Diego Rivera, and Mexican Modernism, the latter of which brought an average of 9,000 visitors per week downtown and into the galleries. Exhibitions like Mesh, APEX: Sharita Towne and A Black Art Ecology of Portland, and the rotating gallery AUX/MUTE, curated by The Numberz FM, continued to uplift and highlight local artists and artists of color. To accompany Frida Kahlo, Diego Rivera, and Mexican Modernism, local Latinx artists created large-scale murals in the main entry area of the Museum. Students of many ages connected to the exhibition via self-guided tours with a printed dual language family guide, and also through programming with Cesar Chavez K-8

dual language immersion program, and the Studio Latino program of Latino Network. College students from Pacific University have also taken part by creating Spanish-language reflections on works in the exhibition.

On April 24, the Museum celebrated student artists and educators at the Portland Public School’s HeART of Portland Miller Family Free Day. After two years of scaled-back events, students, parents, and the community came together to enjoy an art gallery and

The Numberz FM residency partnership continues to expand, and meet the radio station’s goal to build meaningful relationships that strengthen the bridge between art and community. This goal continues to be met in new and meaningful ways, including the continuation of The Numz Bodega pop-up shop, which is an authentic shopping exhibition, honoring the cultural impact and history of the neighborhood staples in underrepresented communities across the country. New media and storytelling also shone brightly over these past several months, culminating in the Cinema Unbound Awards in March, and the announcement of PAM CUT—Center for an Untold Tomorrow, as the new name for the Northwest Film Center (read more on page 14). The Cinema Unbound Awards were a joyous in-person celebration of storytellers who use their creative vision to expand the reach of cinema as an art form to challenge for whom, by whom, and how stories can be told. PAM CUT’s Sustainability Labs is now in its second year, offering a six-month fellowship program designed to ensure that talented, multidisciplinary media storytellers receive the support, resources, and connections to a variety of professional opportunities necessary to thrive creatively, financially, and personally. Fellows will be chosen in the coming months. For the latest updates, follow our social media channels and subscribe to our email newsletter at portlandartmuseum.org.

PORTLAND ART MUSEUM

MUSEUM ACQUIRES NOHEMÍ PÉREZ ARTWORKS THANKS TO NORTHERN TRUST PRIZE In April at the 2022 EXPO Chicago international fair of contemporary art, the Portland Art Museum acquired three powerful artworks by Nohemí Pérez from Instituto de Visión, a gallery with spaces in Bogotá and New York. The purchase was funded in part by the Northern Trust Purchase Prize, which was awarded this year to the Portland Art Museum and two other regional art institutions to support collection of work by emerging, diverse contemporary artists at EXPO Chicago. Generous additional funding for the purchase came from Sharon and Keith Barnes, Pat and Trudy Ritz, and Diane and Herb Rankin, who were among a group of Museum Patrons and supporters who accompanied curators to EXPO Chicago this year. Nohemí Pérez creates multidisciplinary work that reflects upon humanity’s relationship to the natural world and the tensions that arise from modern pressures upon the environment.

Pérez focuses on her native Catatumbo region of Colombia, an area bordering Venezuela and marked by natural-resource extraction and drug trafficking. Large-scale charcoal drawings on canvas depict this dense environment; the artist embellishes the canvases with small, embroidered figures of animals and humans struck down by the violence occurring within the landscape. Charcoal is laden with meaning: It references the exploitation of natural resources that often triggers the loss and death in this place. The Museum has acquired three works from Pérez’s Palmar series, including a

large charcoal drawing and two small paintings. “Palmar” can refer to the trees of the area, but also can be used colloquially to mean “snuff out” or “kill.” Sara Krajewski, the Robert and Mercedes Eichholz Curator of Modern and Contemporary Art, initiated the selection of this work, amplifying the artist’s concerns and connecting them to larger challenges faced globally: “The Portland Art Museum is incredibly proud to be awarded the Northern Trust Purchase Prize this year, which has allowed us to bring in an impactful work by Colombian artist Nohemí Pérez, the first in our collection. We immediately connected with the beautiful depiction of nature in the work, as well as the way Pérez addresses the environmental degradation and violence happening in her home country. We know that this work will speak to our audiences in Portland just as strongly as it does to Nohemí’s communities where she lives and works.” The acquisition builds upon the Museum’s commitment to continue building the collection to include works by Latinx artists and women artists. Visitors will experience the work this summer when it goes on view in the Jubitz Center for Modern and Contemporary Art.

PORTLAND ART MUSEUM

TOP: Nohemí Pérez, Pintura No. 3, 2022, de la serie “El Palmar,” oil on canvas, 20 x 20 x 1.5 cm; Nohemí Pérez, Pintura No. 1, 2022, de la serie “El Palmar,” oil on canvas, 30 x 20 x 1.5 cm.

commissioned by Baron de Pizzis, the lord of the town of Ortona, which lies about 30 miles south of Pescara on Italy’s Adriatic coast. In creating this swashbuckling image, Ceresa followed the tradition of depicting European rulers as Christian knights. The Baron is shown in partial armor with his sword at his side and his helmet resting on the table. The red sash indicates that he was a partisan of the Catholic cause in the religious wars of the period, but does not necessarily mean he was a soldier. The rich silver velvet clothes and fashionable high boots signify that the Baron also wanted to project his wealth and status. The painting is a fine example of state portraits of the Baroque period. It is one of Ceresa’s two best male portraits, the other being Bernardo Gritti, Proprefect of Bergamo, painted in 1646 and now in the collection of the Rijksmuseum, Amsterdam. Positioned next to Felipe Diriksen’s full-length portrait of a Spanish princess, María Ana de Austria (acquired in 2017), this Ceresa painting looks as though it was meant to be here. The canvases are nearly the same size and beautifully interact with each other. The Museum’s European collection includes few such large-scale paintings, so this portrait enhances the representation of Baroque art, and is a wonderful painting to honor Dawson Carr, who specialized in 17th-century art in Italy and Spain. Carlo Ceresa (Italian, 1609-1679). Portrait of Barone Ignazio de Pizzis, ca. 1650, oil on canvas 83-3⁄4 x 51-3⁄4 inches, T2020.76.1

NOW ON VIEW: PORTRAIT OF BARONE IGNAZIO DE PIZZIS, BY CARLO CERESA Visitors to the European Art galleries will have the opportunity to see a newly acquired and freshly restored painting by Carlo Ceresa (Italian, 1609–1679). The painting, Portrait of Barone Ignazio de Pizzis, was purchased in honor of Dawson Carr, Ph.D., who retired last year as The Janet and Richard Geary Curator of European Art.

Ceresa was the leading portraitist in the North Italian city of Bergamo in the 1600s, but his reputation extended far beyond his native land. Ceresa painted religious works for churches in Lombardy and was a particularly gifted portraitist sought by the noble families of Bergamo and, as this painting demonstrates, from distant towns as well. This portrait was

Museum Purchase: Funds provided by the European and American Art Council; Kent and Carol Ann Caveny; George and Barbara Dechet; Ann Flowerree; Laura Meier; Pat and Trudy Ritz; Sabine Artaud Wild; Marilyn Podemski; Dan Bergsvik and Don Hastler; Michael and Mary Klein; Robert Trotman and Bill Hetzelson; Tom and Carol Shults; and Don and Linda Van Wart, in honor of Dawson Carr, the first Janet and Richard Geary Curator of European Art, on his retirement.

PORTLAND ART MUSEUM

PASEO HELPS BRING DOWNTOWN TO LIFE From July 15 to 17, the South Park Blocks will come alive with Paseo, a new kind of festival bringing creativity, health, and movement to re-enliven our downtown. Working with the Portland Art Museum, the Portland Parks Foundation has developed Paseo with a community-driven, BIPOCled steering committee to center the many artists, organizations, grassroots mutual aid, and community parks groups that have historically been marginalized from the financial and cultural center of the city. Named for the sociable evening strolls that are a fixture of community life in Spain and elsewhere, Paseo will offer a showcase of emerging talent in music, performance, art, crafts, and food, along with activities and information in health, wellness, movement, parks, and outdoors. The event also coincides with the opening of the Portland Art Museum’s exhibition Perspectives (see page 4), presenting the work of local BIPOC photographers made during the 2020 Black Lives Matter protests, as well as Oregon Historical Society’s Gambatte! Legacy of an Enduring Spirit, historical photographs documenting the stories of Japanese Americans who were forcibly incarcerated during World War II, along with large-format contemporary photos taken by Pulitzer Prize–winning photojournalist Paul Kitagaki Jr. Paseo is an act of civic reimagination to bring downtown back and also forward. The Portland Art Museum is proud to be a community partner in this effort, and we invite members of the museum community to come take a walk with us! For more more information, visit paseopdx.org.

GOODBYE TO CREAKY FLOORS Anyone who has visited a special exhibition at the Museum in the past decade knows the familiar, comforting, annoying, and distracting creaking and cracking of the parquet floors in the Julie Neupert Stott Gallery and Maribeth Wilson Collins Gallery. The endearing sounds of the shifting subfloors remind us of the millions of visitors who’ve visited those spaces to experience the world through art, from ancient Egypt to modern Mexico and Hank Willis Thomas and Andy Warhol to bicycles. At last, those floors will soon be quieted. More than a simple repair, the parquet floors will be removed and replaced entirely, board for board, to match the historic finishes in the original building designed by Pietro Belluschi in 1932. This attention to visitor experience, art enjoyment, and care of the facilities is a sampling of the bigger changes planned for the campus in the coming years that will further enhance accessibility and visitor connections. The work will take place between exhibitions this summer and fall in order to limit disruption and permit visitors to experience upcoming special exhibitions in peace, including Perspectives and Dakota Modern: The Art of Oscar Howe. We thank you for your patience and pardoning our dust as improvements are made. Thank you to the Kinsman Foundation for supporting this project. Scan code with your smartphone to hear the familiar creak.

PORTLAND ART MUSEUM

PAM CUT

CINEMA UNBOUND OUTDOOR MOVIES JULY 7 – 31, 2022

JULY 7

Being John Malkovich (1999) R - 1 HR. 52 MIN.

JULY 22

JULY 8

A League of Their Own (1992)

PORTLAND ART MUSEUM

PG-13 - 1 HR. 31 MIN. JULY 23

Earth Girls are Easy (1988)

DIR. JOHN WOO

JULY 24

JULY 10

DIR. ANGELA ROBINSON

DIR. JULIEN TEMPLE

R - 2 HR. 18 MIN.

pam.to/outdoormovies

D.E.B.S. (2004)

JULY 9

Face/Off (1996)

The Cinema Unbound Outdoor Movies series is back, and we can’t wait to experience 16 nights of movie magic with you! Starting on July 7, PAM CUT will again take over OMSI’s parking lot not only with food and beverages, but also with some of the most outrageous cult movies, classic cinema, and family favorites. A PAM CUT summer screening will be a complete experience, with giveaways, contests, games, and sing-alongs that make the film come alive in new and exciting ways.

DIR. JENNIFER KENT

NOT RATED - 1 HR. 33 MIN.

PG - 2 HR. 8 MIN.

Want to bring the family? Friday nights are Family Night and will feature FUN for all ages like a BYO stuffed animal sing-along for Sing 2. And date nights? Got you. There will be dancing lessons with Strictly Ballroom, dressup nights galore and DJs to make the night more special than sharing a pint of ice cream on the couch (although that is quite nice too)!

The Babadook (2014)

DIR. SPIKE JONZE

DIR. PENNY MARSHALL

Have you ever watched Face/Off while wearing Nic Cage or John Travolta face masks? When was the last time you told your favorite spooky story to hype yourself up before a screening of The Babadook? Or maybe this is your opportunity to fine-tune your Jeff Goldblum impression before watching Earth Girls Are Easy.

JULY 21

Purple Rain (1984) DIR. ALBERT MAGNOLI R - 1 HR. 51 MIN.

PG - 1 HR. 40 MIN.

Hedwig and the Angry Inch (2001) DIR. JOHN CAMERON MITCHELL *2020 CINEMA UNBOUND HONOREE* R - 1 HR. 33 MIN. JULY 28

Monsoon Wedding (2001) DIR. MIRA NAIR

R - 1 HR. 54 MIN. JULY 29

Ghostbusters (1984) DIR. IVAN REITMAN JULY 14

PG - 1 HR. 45 MIN.

Candyman (2021)

JULY 30

R - 1 HR. 31 MIN.

DIR. GREGORY JACOBS

DIR. NIA DaCOSTA JULY 15

Sing 2 (2021)

Magic Mike XXL (2015) R - 1 HR. 55 MIN. JULY 31

PG - 1 HR. 50 MIN.

The Shining (1980)

JULY 16

R - 2 HR. 26 MIN.

DIR. GARTH JENNINGS

Strictly Ballroom (1992) DIR. BAZ LUHRMANN PG - 1 HR. 34 MIN. JULY 17

Krush Groove (1985) DIR. MICHAEL SCHULTZ R - 1 HR. 37 MIN.

DIR. STANLEY KUBRICK

VR TO GO THROUGH AUGUST 19, 2022

As a part of the Center for an Untold Tomorrow’s mission, we aim to expand for whom, by whom, and how stories are told. After a successful launch in fall 2021, Phase 2 of VR to Go seeks to meld the boundaries of the future, past, and present. This summer’s selected works highlight various stories and themes that explore our past, present, and future—in both fiction and nonfiction—to truly convey our new mission statement and showcase an incredible collection of works. Through August 19, VR headsets will be available for a three-day rental, fully loaded with 10 pre-curated pieces of varying lengths and genres. As in our VR to Go launch last fall, we are again offering rental periods from Friday through Monday, and in addition we are now offering rentals Tuesday through Friday. To make your reservation and learn more about this season’s selection of VR experiences, please visit pam.to/vr-to-go.

Meet Mortaza VR

Kinoscope

A Predicament of Pangolins

DIR. JOSÉPHINE DEROBE

DIR. CLÉMENT LÉOTARD &

DIR. ULRICO GRECH-CUMBO

FRANCE, BELGIUM

PHILIPPE COLLIN

SOUTH AFRICA

FRANCE

I Saw the Future DIR. FRANÇOIS VAUTIER FRANCE

Spheres: Songs of Spacetime DIR. ELIZA MCNITT

The Sick Rose DIR. TANG ZHI-ZHONG, HUANG YUN-HSIEN TAIWAN

NARRATED BY JESSICA CHASTAIN, MILLIE BOBBY BROWN, PATTI SMITH UNITED STATES

The Blind Vaysha DIR. THEODORE USHEV

The Dawn of Art

CANADA

DIR. PIERRE ZANDROWICZ NARRATED BY DAISY RIDLEY, CÉCILE DE FRANCE UNITED STATES PORTLAND ART MUSEUM

CO:LABORATORY!

Youth Summer Camps FRAME BY FRAME: STOP MOTION FOR KIDS JUNE 27 – JULY 1, 2022

EAR BUDS: PODCASTING CAMP JULY 18 – 22, 2022

SUMMER FUN IS BACK AT PAM CUT!

STRIKE A POSE: FASHION FILMMAKING

That’s right, Co:Laboratory Summer Camps are here with new ways for kids to tell their stories and explore their creativity across a variety of media arts. Maybe they’re an aspiring DJ and curious about how it all comes together to get the crowd moving. Or perhaps they want to know the ins and outs of making a video game from scratch? Do you know a kiddo who wants to learn how to make their artwork come to life with stop-motion animation or express a deep passion for fashion? And have we mentioned learning to start your podcast?

GAME JAM! VIDEO GAME DESIGN

JULY 25 – 29, 2022 AUGUST 8 – 12, 2022

SIGHTZ & SOUNDZ: DJing SUMMER CAMP AUGUST 22 – 26, 2022

And if this has you thinking, “Now I want to go to camp!”…we’ve got more fun in store for the grown-ups too!

The Art of Poster Design

Sightz & Soundz: DJing Summer Camp for Adults

JULY 13, 2022

AUGUST 15 – 19, 2022

The immensely talented Akiko Stehrenberger teaches an online class, The Art of Poster Design. Akiko is one of the most popular movie poster designers today and will walk participants through a case study of one of her projects, give a brief tour of her broader collection of work, and also lead the class through the initial steps to develop poster design ideas for a project of their own. Akiko’s work was recently shown at the Posteritati gallery in NYC, which offers exclusive access to some of Akiko’s most incredible works. Visit pam.to/Akiko_gallery for more information.

Have you ever wanted to learn how to be a DJ but don’t know how to take the first steps? Check out this summer camp-style week-long series where DJ Ambush of The Numberz FM demonstrates the ins and outs of the 1s and 2s. Learn how to make a playlist, mix your tracks, and wow a crowd at Sightz & Soundz.

Check out pamcut.org’s Co:Laboratory section to learn more about these and other learning opportunities being offered this summer—and beyond.

MEMBERS & PATRONS

JUST FOR MEMBERS INTRODUCING PAM CUT! Did you know that your Portland Art Museum membership also includes PAM CUT programming?

Save the Date: MEMBER APPRECIATION WEEK 2022 WEDNESDAY THROUGH SUNDAY, JULY 20 – 24

We appreciate our members; let us show it! Visit the Museum during our Member Appreciation Week to bring friends for a free visit, receive special giveaways, get extra savings in the Museum Store, and more! As a token of our appreciation, during this special week all members can bring up to two additional guests for FREE and receive an extra 10% (20% total!) off merchandise in our Museum Store, as well as a number of other special perks just for the week! Watch your email inbox for more details coming soon.

PAM CUT // Center for an Untold Tomorrow is the new name for the Northwest Film Center. The name sets the stage for a more expansive future that includes Museum membership! (See page 14 for everything you’ll want to know about the newly reimagined PAM CUT and more!) This means our membership programs have now converged. We are thrilled to finally be able to fully integrate Museum and film and new media offerings, and to be able to provide you even more robust engagement opportunities that keep us connected and unite us through the power of creative expression. But what does it mean for your membership? In addition to your regular Museum benefits, you’ll also receive exclusive discounts on film screenings, classes, VR and experiential cinema, our Summer Movie series, summer camps, and more! Watch your email inbox for discount codes and other instructions on how to redeem these benefits as new opportunities arise. Stop by our membership tent at PAM CUT Outdoor Movie events to receive membership swag, enter drawings for fun prizes, and learn more about the exciting new things we have planned in conjunction with PAM CUT!

VISITING THE MUSEUM AS A MEMBER Timed Tickets No Longer Required Members receive FREE for 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 visit. Please note that member tickets are limited to the named individuals on your membership cards. We are no longer requiring timed entry tickets. See below for information on how to reserve your free Museum admission tickets as a member: Onsite: Visit the Museum’s box office with your current membership card(s) and/or photo ID for ticket(s). Online: Be sure to sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added ticket(s) to your shopping cart and proceeded to the checkout. Remember to print your e-ticket(s) to present at the Museum for entry. Questions about your membership status or tickets? Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs.

ON THE ROAD AGAIN Traveling this summer? Our Friend ($160) and above level members have reciprocal privileges with over 50 major museums around the country, including Seattle Art Museum and Fine Arts Museums of San Francisco! Visit portlandartmuseum.org/membership for a list of participating museums. If you’re at the Individual or Dual level and want to upgrade, give us a call at 503-276-4249.

PORTLAND ART MUSEUM

PATRONS

SPECIAL ENGAGEMENT OPPORTUNITIES Experience a deeper connection to the Museum—and each other—through a year round program of insider access, travel opportunities, and events that celebrate art and the Museum’s mission.

Save the Date: ANNUAL BENEFIT DINNER OCTOBER 29, 2022

You are invited to the Portland Art Museum’s much-anticipated annual benefit dinner. This year, we are highlighting the openings of two major exhibitions, Dakota Modern: The Art of Oscar Howe and Jeffrey Gibson: They Come from Fire. All are invited and proceeds directly support the Museum’s community programming.

SPECIAL PREVIEW OF PERSPECTIVES JULY 15, 2022

Enjoy special access to Perspectives, a new exhibition opening this summer. Celebrate with the artists at a special reception and exhibition preview.

ELLA HIRSCH SOCIETY ANNUAL LEGACY BREAKFAST

PATRON BUSINESS SOCIETY Customize your engagement with the Museum through visibility, event privileges, and access for your employees and clients. From connecting your employees with creativity and the arts to meeting your marketing and philanthropic objectives, the Portland Art Museum’s Patron Business Society is the perfect way to strengthen the arts in your community. For existing Patron Business members, claim your benefits today by contacting Charu Uppal. We offer several levels of engagement designed to provide value to your company, your team, and your clients. Please scan the QR code with your camera phone to view a full list of benefits To join or learn more, please visit: pam.to/ Patron-Business or contact:

CHARU UPPAL

Associate Director of Individual Giving charu.uppal@pam.org | 503-276-4315

AUGUST 24, 2022

To show our deep appreciation for the vision and commitment of our planned-giving donors, we invite our Ella Hirsch Society members to an annual breakfast event for an insider’s update of the Museum with Director Brian Ferriso. Contact Susan Whittaker, Donor Engagement Manager, at susan.whittaker@pam.org or 503-276-4303, for more information on these opportunities. LEFT:Emery Barnes, Jive, 2020, pigment print, courtesy of the artist, ©Emery Barnes; Oscar Howe, seated in front of a selection of his paintings at South Dakota State University. March 30, 1958. Oscar Howe papers, Richardson Collection, Archives and Special Collections, University Libraries, University of South Dakota, courtesy of the Oscar Howe Family.

PORTLAND ART MUSEUM

For nearly two decades, Dan Bergsvik, a trustee of the Portland Art Museum, and his husband, Don Hastler, have been steadfast Portland Art Museum members and supporters. They’ve empowered the Museum’s programs and exhibitions through their incredible generosity. To ensure that the Portland Art Museum continues to thrive and remain a cherished community asset long into the future, they have included the Museum in their estate plans. When we asked Don and Dan why they chose the Museum, they replied with a quote from the late Arlene Schnitzer that they think says it best:

“I want to inspire other people and other families to do things for their community. If you don’t do it and I don’t do it, who’s gonna do it? You owe something. You can’t just take in the fresh air. You have to be responsible. There’s only one way to show it. It’s either put up or shut up.”

MAKE ART YOUR LEGACY In 1937, when our nation was climbing out of the Great Depression, the Portland Art Museum received the largest gift of its time, valued at $853,000, as a bequest of Miss Ella Hirsch in tribute to her parents. From its very beginning, planned gifts have helped to sustain our Museum. Whatever your stage in life, a planned gift from you will fuel creativity of artists, empower our vital mission, and connect future generations with art in meaningful ways. Through your legacy gift, you may be able to save on taxes, receive income for life, or enjoy other financial benefits. Explore a few giving options here: Percentage giving. Through your will, you can designate a percentage of your estate as you see fit. For example, designate 5% of your total estate to the Museum, while leaving 95% to loved ones.

Beneficiary designation. A simple form is all it takes to name us as a beneficiary of your retirement plan assets, unneeded life insurance policy, or donor-advised fund. Blended giving. Give an outright gift of cash or other assets today, combined with a future gift, such as naming the Museum in your will. We would love to know if you have included us in your estate plans so we can express our heartfelt gratitude for your visionary commitment to the Portland Art Museum. Please call or email Charu at charu.uppal@pam. org or 503-276-4315 to learn about ways to customize your gifts to the Museum that best align with your values and needs. Fine print: The information in this magazine is not intended as legal or tax advice. For such advice, please consult an attorney or tax advisor.

Dan Bergsvik and Don Hastler photographed in the European galleries. 28

PORTLAND ART MUSEUM

GIFTS & GATHERINGS

THANK YOU

We gratefully acknowledge the members and supporters who make our mission possible. All gifts above $250 received December 21, 2021 – March 30, 2022. *deceased Trish M. Brown and Cleveland Abbe Roy and Kay Abramowitz Anne Trainor and Tom Achor Amy Adams Fiona Adams Mrs. Roudi Akhavein Cynthia Chase and Joseph Albert Alchemy Jewelry James Alexander and Pamela Griffith Allen Trust Company Kathleen Allen Dr. Leslie Hall and David Allison Jackie Weissman and Andrew Altschul Jennifer and Christopher Amistadi Nevenka and Daemon Anastas Loren Anderson Taylor Anderson Judith Anderson Linda and Scott Andrews Patricia Mallick and Gordon Anslow Georgiana and Michael Antonelli Robin Appleby and Larry True Barbara Stark and Gregory Applegate Golnaz Armin Art Bridges Foundation ASAP Logistics, LLC Ezra and Carrie Atikune Steve and Kathryn Bachelder Geoffrey Baldwin and Claire Woodhead-Baldwin Rita and Steve Ballard Mary L. McClintock and Thomas A. Balmer Bank of America Charitable Gift Fund Dr. David Barnard and Akiko Hashimoto Aimee L. Barneburg MaryAnn and Phillip Barnekoff Marci K. Clark and James N. Bartroff Ron and Mary Beamer Kathleen and Anthony Bean Marcia Bechtold and Brian T. Carroll Scott Becker and Meg Thibodeaux Mrs. Mary Cecilia Becker Jane and Spencer Beebe Julie Beeler and Brad A. Johnson

PORTLAND ART MUSEUM

Dr. Rod Belkin and Patricia Sinclair Belkin Mr. and Mrs. Anthony Belluschi Mr. and Mrs. Peter G. Belluschi Gerald Belmore Pamela Berg Jan L. Berger Dana S. Berger and Josephine Berger Martha Bergman Deborah Bergman Daniel Bergsvik and Donald Hastler Susan Brookfield and Jonathan Berkman Laura J. Bethke Alison E. Brody and Donald C. Bingham Susan T. Bishop and Hal Lee Mr. and Mrs. Lawrence S. Black Mrs. Catherine Blanksby Dr. Thomas P. Anderson and Dr. Jack B. Blumberg Kendra Lerner and Ira Blumberg Patricia Boday David and Brittany Randy and Kim Boehm Thomas Boess and Kristen Engfors Mary Lee Boklund Rose Bond Bonhams Banks Boutte Todd and Susan Bradley Beth Brdlik and Thomas Sanoubane Ken and Patty Brebner John and Eileen Brennan Kay Bristow Donald and Sara Brookhyser Ernie Brooner and Karen Wilson Linda and William Brown Mr. and Ms. Thomas Brown Richard Louis Brown Summer Browner Jo Shapland and Doug Browning Louise Roman and Will Bruder Lucy Matthews Buchanan Meaghan and JD Bullard Sarah Bunnell Linda Hathaway Bunza and Geoffrey J. Bunza Cassandra Hughes and Jacob Burghoffer James and Diane Burke

Paul and Stacey Burkhart Erin Porozni and Susan Burmeister-Brown Dan Saltzman and Liz Burns Eric and Robin Busch Douglas Buster and Mary Russell Robert Button and Sigrid Button Richard Caldwell Doug Calvert and Lynne Calvert Cambia Health Foundation Elizabeth and John Cameron Cynthia Caraballo-Hunt and Steve Hunt Tim and Susan Carey Jeffry Mitchell and Ivan Carmona Elizabeth Carnes Miranda Carney-Morris and Douglas Morris Brian T. Carroll and Marcia Bechtold Rick Caskey Phyllis and Kristin Cast Yasodha Gopal and Dr. Todd Caulfield Bianka Chacon and Vanessa Chacon Thomas Chalupny Gordon B. Chamberlain Alice S. Chan Ane and Reed Chandler Julie Chang and Stewart Shiu Charles Schwab Corporation James and Mary Chase Ying-chieh Chen and Robert Barry Eric Riley and Jackie Cherry David and Jenny Cherrytree Marc Chinard and Philippa Kaplan Becky and Frank Chinn Ms. Shinobu Chrisman Anne-Marie W. Clark Elisabeth and Jerry Clark Caryll and Cory Clausen Shane Clayton Thomas K. Coan Emma and Bart Colson Columbia Trust Company Mr. and Mrs. Terence J. Connell Steven and Connie Conner Kelly Costigan and William Connors Mr. James Cooke Kimberly B. Cooper and Jon Jaqua

Denise E. Kleim and Chris Corich David Cress Emily Cuellar and Mike Clark Cuellar Martha and Olivia Curry Patrick Curtain and Vaughn White Chris and Sahana Custer Mr. James J. Damis Chris Davie David and Alice Davies Cameron and Dick Davis Grant Davis Christine Tell and Jeffrey Davis Amanda Davis Elizabeth and Kirk Day Christelle and Jon deAsis Stella Tsai and Ken Deaton MaryAnn E. Deffenbaugh Barry DeGregorio and Judith Holeva Barbara Delano and John Wyckoff Nancy and Frederic Delbrueck Steven Delugach and Gail Kempler Mary Jo Murawski and Marc Demarest Jacoby Demissie David Deutsch and Gary Stutler David and Kate Dickson Paul Dionne and Thomas Matsui Claudia Dissel Kirk Dobbins and Herbert Kitchen Ronald and Linne Dodge Martha W. Dougherty Sally Doughty Theo and Nancy Downes-Le Guin Ms. Judith Posey and Edward J. Doyle Teresa Roether and Peter Drake Lisa Driscoll Suzanne and Jayant D’Souza Allan and Margaret Dunn Gail Durham and E. Benno Philippson Karen and Bill Early Fund of the Oregon Community Foundation Barton and Jill Eberwein Miyuki and Austin Eddy Ms. Carol Edelman Edward Jones Barry A. Edwards Edwin M. and Maria F. Stanley Foundation

Blake Ellis James Kahan and Kathia Emery Kaya and Ian Emrick Deborah Yaeger and John Emshwiller Julie and Tif Enders Norman Eng Rebecca Epstein Kirsten Erickson Alexis and Matthew Erickson Estate of W.H. Nunn Eugene C. Skourtes Foundation Paul Schneider and Lauren Eulau European and American Art Council of the Portland Art Museum Todd Evanoff and Carrie Thompson Kristien Evans and Ella Forness Kelly and James Falkner Deb Namestka and Kelly Fallert Kevin And Holly Ricklefs Family Foundation Dr. Samuel Farmer and Stephanie Holmes-Farmer Nicholas Fearn Edward and Gloria Feinstein Laurie Feinswog Jon Feldhausen Hannah Femling Lana and Christian Finley Donivee Finnell Carole Fishback Suzanne K. Fisher and Bruce B. Hostetler Carl and Clara Foleen Jerry Fong Charles and Zoe Foster Stephanie Fowler and Irving Levin/ The Renaissance Foundation Jim Rapp and Isabella Fox-Rapp Katherine and Mark Frandsen Judi Free and Paul Hamborg Alice and Robert Frost Kathy and Jess Fry Robin Laughlin and Jeff Fuchs Jana and Mark Fulop Allie Furlotti Morris and Candace Galen Galen Family Trust Jonah Gamblin

Miller Family Free Day with PPS HeART of Portland events. PORTLAND ART MUSEUM

HOW TO GIVE TO THE MUSEUM Donate in a way that’s most meaningful to you. Every gift, no matter the size, greatly impacts the Museum’s ability to create experiences for exploration, learning, and enrichment through art.

Here are many ways to empower our mission: • Make a donation above and beyond your Museum membership • Become a Patron Society member • Give a gift of stock or securities • Make a qualified charitable distribution through your IRA • Double or even triple your donation through workplace matching gifts • Corporate sponsorship • Give gifts of art Please call our development team at 503-276-2811 with questions.

portlandartmuseum.org/ways-to-give

PORTLAND ART MUSEUM

Scenes from Miller Family Free Day including: (CENTER LEFT) Artist Christine Miller in AUX/MUTE Gallery and (BOTTOM) mural artists Hector Hernandez and Christian Barrios with visitors.

Lucile Gauger and Madeleine Mader Charles Gauger Stanley Geffen and Adrienne Souther Paul Gehlar Katherine and James Gentry Thomas and Elizabeth Gewecke Steven and Sharon Gibson Julie Flindt and Dr. Nick Gideonse Mrs. Barbara Giesy Kit Gillem Charles Rosenblum and Cameron Gillooly Ms. Dessa Goddard Annette Goldschmidt Harold M. Goldstein and Carol A. Streeter Louisa and Justin Gombos Alix and Tom Goodman Mr. and Mrs. Mark Goodman Google Inc. Christopher Gordon and Maria Gordon Sheri Gorman Doug Gould and Willow Hill Graphic Arts Council of the Portland Art Museum Evan Green Pamela Greene and Hans Kretschmer Nick Schwartz and Susie Greenebaum Delia Grenville Sybil and Robert Grissom Kimberly Gronquist and Peter Gronquist GSI Builders, Inc. Gucci, America Raquel Ruiz and Stephen Haber Kara Johnson and Larry Halkinrude Lisa and Kirk Hall Leslie Hall and David Allison Cara and Mike Hallock Daniel and Karen Halloran Lance Halvorsen and Ms. Laura J. Paulini Susan and Mark Hamerlynck Christine Hamm Karen and Jonathan Hanken Janet and Joe Hanus Matthew Harad Ulrich H. Hardt and Karen Johnson Bob and Janis Harrison Stewart and Lynda Harvey Donald and Jette Haslett Phyllis Helland and Raymond Morse Gayle and Manuel Hernandez Julia Hernandez Dinny Herron Andee Hess Matthew Higgins and Siqi Zhang Christine and Steven Hightower Veronica and Jim Hiller

David Hilts Dina and Daryl Hinz Susan Hyde Hoffman and Fred L. Trullinger Sandra and Steven Hohf John and Karen Hoke Leslie and Larry Hough Karen Howe and James FitzGerald William J. Huebner Judy S. Hui-Pasquini David Hyman and Sallee Humphrey Steve Hunt Joshua and Kerstin Husbands Linda Hutchins and John Montague Helenka Marcinek and William Hyde Sean Igo Illinois Tool Works Foundation Robina Ingram-Rich and Timothy R. Rich Intel Foundation Carol and Daniel Isaak Michael and Jane Rice Constance Jackson and Xavier LeHericy Evangeline Sokol, M.D. and Mr. Shahr Jahanshir Gerald Jeli Lory and Mats Johansson Bryn Johns-Hunter and Nicholas W. LaRue Susan G. Johnson Clinton MacKenzie and Kate Johnson Michael Rear and Severena Johnston Elizabeth Johnston Jessie Jonas Nichole and Peter Jones Alan and Sharon Jones Kyle Jones Martha Schechtel and William T. Jordan Mrs. Helen B. Juarez Alan and P. Keiko Kagawa Dr. and Ms. James Paul Kahan Sanjiv and Cindy Kaul Dale M. Willis and Alicia B. Kavka Katherine and Gordon Keane Susan D. Keil Barbara Kelley Stephanie Kelly Kristen and Michael Kern David Ketelsen and Brittany Bode Selby and Doug Key Kathy Keyes Sanjay Khare Joe Schafbuch and Nikki Killian-Schafbuch Jason King MaryBeth Kinney Heidi and Doug Kirkpatrick Julie Kim and Dan Root Jody Klevit Nicholas and Patricia Knapp

Brooks Koenig Brigitte S. Kolloch-Russell and Andy Russell Katherine Koontz and Peter Belfanti Dr. Cara Rozell and Roger Kornfein Yoji and Mayumi Kosaka Patricia and Carl Kostol Cheryl and Chick Kozloff David Krakow and Abby Hall Jason Kreher Dick Kroll Arrow and Jessica Kruse Elena Miranda and Reese Kruse Lynda and David Kusuma Ellen Lairson and Michael Shinn Marsi Thelin and John Lambie Patricia A. Landye Jeffrey M. Lang and Rae Svendgard Helena and Milt Lankton Andrea Lara Silva Anna Kim and Wayne Lau Deakin Lauer and Christina Tello Henry* and Yvonne Laun Merritt Lawrenson and Jeanette Hardiman Barbara and Terry Lawson Martha Lee Susan and Robert Leeb K. Lee Caroline Leguin Montia Leighton and Ryan Overhauser Gregory F. Leiher Prof. Matthew Letzelter Kelly Post-Lewis and Larry Lewis Ross M. Lienhart and Janeese Jackson Hollie and Eric Lindauer Patricia Lindquist Mary and Terry Lohnes Mary Long and James Wade Andrea Lounibos and William Ryan Jon Michael and Bettina Luce Theresa and Robert Lusardi Dr. Gerhard Meng and Darlene Lynch Peter and Susie Lynn Susan Lyon Melinda Maas and Jesse Maas Ms. Marissa Madrigal and Mr. Paul Van Orden Karen and Larry Maguire Louise and Bruce Magun Gabrielle Mahoney Jane Maland and Kyle Napoli Cyndy and Edward Maletis David and Connie Manning Linda and Ken Mantel Cinthia and Yessica Manuel David Iler and Laura Mapes Patrick K. March and Beverly Toledo Marcia H. Randall Foundation Jean Marglous

Dina Marie and Andrew Harvey Mr. and Mrs. M. James Mark Mr. Thomas Mark Keith Martin K. Stanley and Kathleen Martin William and Estelle Mathers Ellen and Michael Mattesi Daria Matza Michael Robertson and Gwyn McAlpine Doran McArthur Stephen R. McCarthy and Lucinda Parker Michael and Judy McCuddy Esther and Peter McEvoy Maureen McGlynn and Gary Westford Anjanette and Brue McHayle Ann McManamon Laura S. Meier David Meinhart and Charles Campbell Melvin Mark Companies Robert Reed and Lyla Menzel Stavros Merjos Merrill Lynch, Pierce, Fenner & Smith, Inc. Dr. Paulette Meyer Alex Miel Gil and Peggy Miller Jennifer O’loughlin and J. Michael Miller Nancy and Brad Miller Lucy Mitchem Kelsey and Jenny Moede David Montesano Dee Corbin Moore and Thomas Jewett Moore Nancy and Kevin Morrice Abby S. Morse-Golub Marwan Mouammar and Vanessa Peterson Elizabeth Mowe MUFG Union Bank, N.A. Sean and Shelby Murphy Kim Murton and David Mylin Eva Myers and Kasey Wagoner Melissa And Bob Naito Anne Naito-Campbell National Endowment for the Arts Native American Art Council of the Portland Art Museum Hester H. Nau Ruben Navarro Ms. Julia Nemeth Netflix, Inc Linda Nettekoven and Larry Wallack Mark New Lisa and Lucas Newman Barry and Jane Newman Nicholas and Carolyn Stanley Mary A. Nidiry John and Lauren Niemer John and Virginia Niemeyer

Jessica and Roberta Nieto Nike, Inc. Ray and Carol North J Swofford and Linda Nussbaum Alison N. O’Brien OCF Joseph E. Weston Public Foundation Dan and Carolyn O’Doherty Diana Rempe and Patrick O’Herron George and Reba O’Leary Kari Olivadotti-Peters Mrs. Kathleen O’Neal Shelli O’Neal and Kyle Hauger Oregon Community Foundation Darleen Ortega Michele Palmquist Ellen Vanderslice and J. Scott Parker Gail and Alan Pasternack John and Jollee Patterson John S. Patterson Laura J. Paulini Mark and Christiane Payton Pershing LLC PDX Contemporary Art Alan Petersen Charles Peterson and Susan Sater Evelyn Rae Peterson John Peterson Brenda J. Peterson Ann and Robert Phillips Lisa and Sean Phillips Rebecca Phillips Jennifer Pierce Luke Pietrok and Maria Teresa Pietrok Pioneer Trust Bank, N.A. Diane M. Plumridge Travers and Vasek Polak Tori and Charles Pontrelli Yale Popowich, MD Erin and Grahm Porozni Dr. Fay A. Gyapong Porter and Craig J. Porter Portland Garden Club Portland State University Judith Posey and Edward J. Doyle Gayle and Carol Post Family Fund of OCF Paige A. Powell Nik Powell and Mary Rea Magdalen Powers and Roxana Sherman Bettsy and Wallace Preble Stephanie Redman and Patrick Preston James T. Price Candace Primack Precision Garage Door Service Stan and Kim Prosser/Precision Garage Door Service Teresa and Scott Pugliese Todd and Lanie Putnam Charles Putney

PORTLAND ART MUSEUM

Thomas and Suzanne Puttman Janice E. Quivey Linda Rae Hickey Kim and John Raglione Rebecca and Christopher Rall Jennifer and Calico Randall Mrs. Diane Rankin and Mr. Herbert Rankin William and Anne Rasnake Raymond James Charitable Endowment Fund RBC Wealth Management Tracy Rector and Joel Schomberg Reed College Kenneth and Olivia Reis Roderick and Sheila Renwick Patricia Reser and William Westphal Revery, Inc. Ms. Sharla Rickles Radhika Natarajan and Paddy Riley Pat and Trudy Ritz Andria Robbins Lisa and William Roberts Rebecca and Christopher Roberts Jane Robinson and Michael Sands Lyndsey Romick and Simon Baugher Tracy Rosenbalm and Tim Williams Charles S. Rosenblum Craig and Mary Ruble Karen Rumble Ryann Rundell Jennifer Russina and Benjamin Watson Russo Lee Gallery Susan Rustvold Kevin Ryan David and Eleanor Sacks Paul Sadilek Salesforce Dan Saltzman April Sanderson Stephanie Sanford Sanford C. Bernstein & Co., LLC Claudia and Mark Sanzone Charles E. Peterson and Susan Sater

Sawyer and Jean Marglous Foundation Kathleen Scanlan Brennan Scarlett Thomas and Linda Schaeffer Martha Schechtel and William Jordan Janet Schibel Annika Schindler Janet Schmitt The Harold & Arlene Schnitzer CARE Foundation/Jordan Schnitzer Jordan Schnitzer Family Foundation Lois Schnitzer Rebecca and David Schroeder Schwab Charitable Fund Marcy Schwartz Lina G. Seabold and Steve Seabold Mel Seger Elizabeth Seidman and Nicholas G. Garaufis ShadowMachine Jo Shapland Dr. Enoch D. Shaw and Mrs. Rita P. Shaw Mary Shaw ShedRain Corporation Gina Sheh Linda and John Shelk Elizabeth Sheridan Andrew Shimomura and Roseanne Shimomura John Shipley Catherine Siemens Michael and M. Kelly Sievers Richard and Lori Singer Andrew Singer Dr. Eugene C. Skourtes and Bonnie Skourtes Joshua and Erica Smibert Mr. Scott Smith Jonathan Smith William and M. Susan Smith SN Charitable Foundation Sidnee Snell Lisa Snell and Harvey Clawson

Barbara and James Snow Angela and Rex Snow Isabel Sokol-Oxman and Evangeline Sokol Sokoloff Family Trust Sharon Urry and J. Scott Soutter Arthur and Lisa Spanjer George and Molly Spencer Susan and James Spitzer Mr. and Mrs. Nicholas J. Stanley Greg Applegate and Barb Stark Oregon Arts Commission Oregon Cultural Trust Stavros Merjos Limited Mr. and Mrs. William T. C. Stevens Lee and Amanda Stevens William and Cornelia Stevens Romalia Stickney-Shibley Robert Stoll Judy and Michael Stoner Bryan Stratte John Strege and Kevin Walsh Luisa and James Sunderland Drs. Donald and Roslyn Sutherland John Svicarovich Donna Swartz Swigert Foundation Darci and Charlie Swindells Miss Kodi Tajbakhsh Ray and Nancy Tanner Kimberly Tardie Jen Tate Jayanne and Gary Teeter Prof. Nora Terwilliger Michael Tewfik The Blair Family Foundation The Ford Family Foundation The James F. and Marion L. Miller Foundation The Ken & Julie Moelis Foundation The Sumitomo Foundation Stephen Archer and John Thompson Rev. Richard B. Thompson Michael Thrailkill

Patrice and Diane Thramer Tinwood LLC Judy Tobin and Michael Baker Randall Tosh and Alexander Benenson Haithem and Heidi Toulan Mel Townsend Craig Trames Robert Trotman and William Hetzelson Susan Hyde Hoffman and Fred L. Trullinger United Pacific Forest Products United Talent Agency Tom and Ann Usher Jennifer Viera Hanson Randall L. Vogt Neva Votruba Loutzenhiser and Gareth Hauser Roger Vrilakas Ann and James Waldman Jerry and Krishna Walker Francine Warkow Warner Brothers Pictures Ms. Wendy W. Warren and Mr. Thomas Brown Mr. and Mrs. Robert Warren, Jr. Ashlee Warrick Elisabeth and Michael Weinstein Laurie Weiss Andreas Weitkamper Gary Westford Westridge Foundation Robert and Sarah White Marsha White Agnes White and Nora Stern Bill and Helen Jo Whitsell Sabine Artaud Wild Ms. Amy Adams and Keith Wilkins Tim Williams and Tracy Rosenbalm Colleen Willmert Reed and Christina Wilson Julie R. Wilson Lynetta and Wade Wisler Carolyn V. Wood Tim Wybenga

Barbara J. Delano and John Wyckoff Judith Wyss Elizabeth and Peter Yoon Jonathan and Pearl Yu John and Nancy Zernel Kim Ziebell Jan Zuckerman James and Carol Zuiches Anonymous (5)

TRIBUTE GIFTS

Dick and Cameron Davis in Honor of Alix M. Goodman Pledgeling Foundation in Memory of Billie Ullom Pledgeling Foundation in Memory of Nani S. Warren Chuck Putney in Memory of Nani S. Warren Sarah K. Potter in Memory of Mary J. Potter Schwab Charitable in Memory of Carlyle Everhart Mark New in Honor of Arlene Schnitzer Craig and Mary Ruble in Honor of Janet Edwards Shelby Strong in Memory of Nani S. Warren SN Charitable Foundation in Honor of Caty Millar Westrdige Foundation in Honor of Amy Dotson Lucy Matthews Buchanan in Memory of Harold J. Schnitzer and John E. Buchanan, Jr. Nicholas Garaufis and Elizabeth Seidman in honor of Alix Goodman

LEARNING & COMMUNITY PARTNERSHIPS ACCESS SPONSORS As of March 30, 2022 The Lamb Baldwin Foundation Ed Cauduro Fund of the Oregon Community Foundation Robert Lehman Foundation

Maybelle Clark Macdonald Fund Nordstrom OCF Joseph E. Weston Public Foundation

Oregon Community Foundation Oregon Cultural Trust The PGE Foundation

The Museum gratefully acknowledges all members who have continued to support the Museum on an annual basis through their membership contributions. The Portland Art Museum is accredited by the American Association of Museums and is supported in part by annual contributions from the Oregon Arts Commission, the Oregon Arts Heritage Endowment Fund of The Oregon Community Foundation, the National Endowment for the Arts, and the Regional Arts & Culture Council.

Barbara and Phil Silver Cheryl Tonkin, Rena Tonkin, & Marv Tonkin Leasing Company, in memory of Alan Baron Tonkin

U.S. Bank

EXHIBITION SERIES SPONSORS As of March 30, 2022 PRESENTING SPONSORS

Mary and Ryan Finley William G. Gilmore Foundation The James F. and Marion L. Miller Foundation Nancie S. McGraw

LEAD SPONSOR

The Collins Foundation Mary and Cheney Cowles Flowerree Foundation M.J. Murdock Charitable Trust Dorothy Piacentini Travers and Vasek Polak The Smidt Foundation

TOP LEFT CLOCKWISE: Cinema Unbound Awards honoree Arthur Lewis with Mary Blair and presenter Tasha Smith; Angela Snow and Keoamkha Sengnouanchanh; Fuchsia Lin, Linda Andrews, Alix Meier Goodman, and Amy Dotson; Nike’s Serena Williams Design Crew (SWDC); event emcees IZOHNNY (Johnny Nuriel and Isaiah Esquire).

MAJOR SPONSOR Maribeth Collins Exhibition Endowment Fund Gospel of Thomas, LLC Pat and Trudy Ritz The Smidt Foundation The Standard Charles and Darci Swindells

SPONSOR

The Sharon and Keith Barnes Endowment Fund

PORTLAND ART MUSEUM

SHOP FOR ART

MUSEUM STORE

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

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

Rental Sales Gallery Located at Southwest 10th Avenue and Jefferson Street, just behind the Museum, our Rental Sales Gallery offers a great opportunity to fill your walls with local art. You can swap out pieces and try new works through our art rental program. RSG is open for walk-in visits Tuesday–Saturday, 11 a.m. – 5 p.m. The Rental Sales Gallery has more than 1,000 original works by over 200 regional artists. All of the works are available for both rental and purchase, with all of the money made supporting both the artist and Portland Art Museum’s missions. Learn more at rentalsalesgallery.com.

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

RENTAL SALES GALLERY The Rental Sales Gallery’s New Artists Show opens Friday, August 26, 4–7 p.m. Join us in welcoming our newest Member Artists into the Gallery, and discover their original and beautiful works of art. If you are interested in finding out more about becoming a Member Artist yourself, contact the Gallery at 503-224-0674 or at rentalsales@pam.org.

Artful Venues The Museum’s ballrooms and other event rental spaces are again available for community gatherings—reserve your special date now at artfulvenues.pam.org! All proceeds help fund the Museum’s learning and exhibition programs. Discounts for nonprofits are available. The Portland Art Museum follows COVID-19 safety guidelines for events in its rental venues. Visit artfulvenues.pam.org.

PORTLAND ART MUSEUM

ARTFUL VENUES IS OPEN! The Museum’s beautiful Kridel Grand Ballroom (seen here at this year’s Cinema Unbound Awards) now features new carpeting and major upgrades to lighting and audiovisual systems for a state-ofthe-art experience.

PROGRAMS

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

CONTACTS General Information Membership Information

503-226-2811 503-276-4249

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

ADMISSION

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

EXHIBITION SCHEDULE Opening PERSPECTIVES July 16 – November 13, 2022 BETWEEN ORGANISM AND ENVIRONMENT Opening July 30, 2022

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

Continuing ISAKA SHAMSUD-DIN: ROCK OF AGES Through August 2022 PORTRAITURE FROM THE COLLECTION OF NORTHWEST ART Through August 2022 APEX: SHARITA TOWNE AND A BLACK ART ECOLOGY OF PORTLAND Through October 30, 2022

Tickets available online.

FREE & REDUCED

ADMISSION Every Day

Children ages 17 and younger are free. Arts for All – Oregon Trail Card holders can purchase up to two admissions and/or PAM CUT Whitsell screenings for $5 each

AUX/MUTE GALLERY Through October 30, 2022

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

JEFFREY GIBSON: THEY COME FROM FIRE October 15, 2022 – February 26, 2023

MAKING A MARK: CONTEMPORARY DRAWINGS Through November 20, 2022

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

DAKOTA MODERN: THE ART OF OSCAR HOWE October 29, 2022 – May 14, 2023

SHADES OF LIGHT: KOREAN ART FROM THE COLLECTION Through December 31, 2022

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

HIGHLIGHTS OF JAPANESE ART: NEW ACQUISITIONS Opening September 10, 2022

1219 SW PARK AVENUE

PORTLAND, OREGON 97205

PORTLANDARTMUSEUM.ORG

YOU MAKE ART HAPPEN You fuel our community’s creativity and empower our mission through membership purchases, ticket sales, exhibition sponsorship, philanthropic donations, and more! You are at the heart of our work, and our Museum is ever evolving because of your generosity. Your enduring support activates a collection of more than 50,000 objects that reflect culture and history from ancient times to today. With members and donors like you, educational programming and partnerships continue to foster the next generation of artists and art lovers.

Thank you for being a part of everything we do.

Visitors in Christine Miller’s exhibition in the AUX/MUTE Gallery during the Miller Family Free Day.

1219 SW PARK AVENUE, PORTLAND, OREGON 97205-2430