Phoenix Art Museum by PS Studios

APRIL– JUNE 2015

The Diane & Bruce Halle Foundation has proudly supported The Phoenix Art Museumâ&#x20AC;&#x2122;s dedication to the arts and looks forward to its future endeavors.

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Carnivale | Alo And Silk

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Charles Arnoldi, Black Mariah, acrylic on canvas

Anish Kapoor, Untitled, stainless steel and gold plate

Whether fresh out of an artistâ&#x20AC;&#x2122;s studio or from a private collection, Bentley Gallery selects works that are beautiful, that are exquisitely crafted, and that force us to change how we experience the spaces we share with the art. Along with this yearâ&#x20AC;&#x2122;s vigorous schedule of exciting new exhibitions, the gallery also offers confidential deaccession services for your secondary market works of art. Please contact us so that we can help with all of your art needs. Pat Steir, Untitled, oil on canvas

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Andy Warhol once said that life is so quick. Made up of nothing more than days spent sleeping, driving, working, and watching a lot of TV. The moments that most define our lives make up just a few glimmers of extraordinary among a sea of everyday mundane. But, oh, how those moments will shine if we take the time to see. This year, we invite you to turn off the television. To leave work a little early. To make a detour on your commute. To spend a rainy winter’s Sunday in the Thorne Room Miniature Gallery. To hold someone’s hand as you spend an evening among ‘Fireflies’ in the spring. To experience a new exhibition in the summer, to wander through the Western gallery in the fall. We invite you to make the most of your days, to look at beautiful things, and most of all, to notice all of the bright glimmers around you every day. We invite you to see. To really see.

CONTEMPORARY ART Consignments now invited

ALEXANDER CALDER Maripose, 1960 hanging mobile-painted sheet metal and wire Sold for $1,805,000

INQUIRIES +1 (480) 994 5362 terri.hardy@bonhams.com

Board of Trustees 2014 – 2015

Chairman Jim Patterson

Dear Members and First-Time Visitors, So much has occurred at the Phoenix Art Museum this past couple of years. We enjoyed many successes thanks to the work of our curatorial team and dedicated staff. The somewhat unexpected success of The Art of Video Games reflects the demand for more interactive exhibitions. This unconventional exhibition drew many families, as well as many millennial’s—both of which are priority audiences for our future. The Art of Video Games was followed by another quiet success, Lifelike—a hyperrealism exhibition organized by The Walker Museum in Minneapolis. Again, the exhibition drew a diverse audience, but attracted many families and younger, new Museum patrons. This year, our headliner, Andy Warhol: Portraits will set the stage for a much anticipated fundraiser The pARTy, chaired by Trustee Ann Siner and her planning committee. This exhibition is also slated to attract a young diverse audience that is truly the future of not only our Museum, but also those throughout America. Our first ever Sybil Harrington Director, James K. Ballinger, announced his retirement after 40 years of service to the Museum and 32 years as our Director. Jim has built our Phoenix Art Museum into the preeminent museum of art in the Southwest, and has become the first Director Emeritus of Phoenix Art Museum. We were very fortunate to recruit the second ever Sybil Harrington Director of Phoenix Art Museum, Amada Cruz, who joins us from Artpace in San Antonio, Texas, where she served as Director for the past two years. Amada brings with her a diverse curatorial and leadership experience and we are confident that she and her team will shape the next era of Phoenix Art Museum. So many dedicated volunteers help make our visitor experience the best it can be. My great thanks to each of them, our wonderful staff, and my fellow Trustees for their support in making 2015 another great year at the Museum. I invite each of you to provide us your thoughts and recommendations in shaping our future. Sincerely,

James S. Patterson, Jr. Chairman, Phoenix Art Museum

Vice Chairmen Tony Astorga, Mike Cohn

Treasurer Rose Papp

Secretary Denise Delgado Alvan Adams Peter Banko Alice Bazlen Michael Bill John Bouma Donald Brandt Drew Brown* Ron Butler Amy Clague* Bruce Covill Joan Cremin Jacquie Dorrance* Susan Drescher-Mulzet Michael Ebert Erin Gogolak Richard Goldsmith Michael Greenbaum* Paul Groves Meryl Haber, MD Diane Halle Nancy Hanley Lila Harnett* Ellen Katz Ken Kendrick Joe Lampe Sally Lehmann

Sharron Lewis K. David Lindner Judy Linhart Jim Lundy Dennis Lyon Garrett McKnight Patricia Nolan Doris Ong Steve Rineberg* Edgardo Rivera, MD David Rousseau Jay Schlott Suzanne Selig Ann Siner Adam Singer Angela Singer Raymond Slomski Mark Tarbell Gary Tooker Meredith von Arentschildt Bill Way John Zidich * Honorary Trustee

LETTER FROM THE CHAIRMAN BOARD OF TRUSTEES

CONTENTS APRIL – JUNE 2015

7 Letter from the Chairman The Checklist 9 Museum Director’s Welcome 10 The Checklist 16 Andy Warhol: Portraits 23 24 28 37

Point of View Warhol and the Age of Selfie Gallery Guide Film in the World of Warhol

40 Leonardo da Vinci’s Codex Leicester and The Power of Observation

47 One-of-a-Kind: Unique Photographic Objects from the Center for Creative Photography

50 Pattern Play: The Contemporary Designs of Jacqueline Groag

56 Hidden Histories in Latin American Art MUSEUM INSIDER 58 Education

62 Fashion Design 70 Photography 76 Asian Art 86 Latin American Art 96 Art of the American West, European, and American Art through 1950

106 General Membership 114 Circles and Corporate Membership 118 Financials 122 The pARTy 128 Planned Giving 130 Acknowledgements Circles of Support Corporate Council

To all my new Phoenix Art Museum friends: First of all, I want to thank you all for the warm welcome you have extended to me and my husband Rick. We are absolutely thrilled to have finally arrived in Phoenix. As many of you know, our entry was gradual as we attended a number of events before my official start, so it already feels like home! This issue is dedicated to “defining moments,” as we celebrate the landmark Warhol and Leonardo exhibitions. The start of my tenure as the Sybil Harrington Director is certainly a significant milestone for me. I take the reins from Jim Ballinger with the full realization of the exciting responsibility of moving the Museum into its next phase. But in the spirit of revealing defining moments, I thought I would recount a story about an important early experience I had in my career: I went to Germany after college to study the language in preparation for art history studies. After a few months in Munich, I travelled to then West Berlin, which was the center of the contemporary art world in Europe in the early 1980s. The Berlin Wall was firmly in place, and the American government as well as the West Germans were pouring money into the city to make it a cultural showcase in defiant contrast to the dour East Germany next door. The American cultural office was quite vibrant, and I made an appointment with the Cultural Attaché, who for some reason decided to make time for an overly confident 22-year old. We talked about my wanting to work in a cultural organization in West Berlin, and he suggested I speak with the Director of the Akademie der Kunste, who was taking a retrospective exhibition of the work of Willem deKooning from the Whitney Museum. I went to see Jorn Merkert, and he hired me to help with the exhibition. I had had a year-long internship at the Guggenheim Museum during college, so I had some museum experience, but I mostly just had enthusiasm and a willingness to do almost anything. My internship there was fantastic. I served as a translator, paper shuffler, and accompanied the Director on studio visits with artists. It was all going beautifully, then one day he told me he had a special project for me. Elaine deKooning, the ex- although-still-involved wife of the famous artist, was coming to Berlin for the opening festivities with her nephew. He thought I might be the perfect guide for them since my German was passable, and it would be a good experience for me and might lead to some interesting opportunities back in the US. Of course, I agreed. My first vision of Elaine deKooning was of this older, regal women dressed all in black with a sweeping purple cape. She was like a romantic heroine from the past with theatrical gestures and a talent for telling stories (about Jackson Pollock!) that was irresistible. I spent a few magical days traveling with her and her nephew (who was my age) around the city, visiting sites and seeing artists, all of whom were in star-struck awe of her. Then one day, the director told me that Elaine had insisted to him that I travel with her around Germany as her guide. Our little entourage of three, with me and her nephew following behind the flowing cape and gesticulating hands, visited fascinating people, including the writer of the book, Das Bot, who had the best collection of German Expressionist art in private hands at the time, all the museums we could, and would end our evenings with cognac at the bar of whatever hotel we were staying in. When Elaine and her nephew returned to New York, and I eventually returned to the States, we continued our friendship and even met up at her home on East Hampton, a visit that was capped by a dinner with Willem deKooning at his house…on TV tables (remember those?), watching a Marilyn Monroe movie. I’ve told this story often because it was pivotal experience for a young, ambitious, and clueless art history student, a glimpse of a possible future of working (and socializing) with the most inspiring people of our time. As I get to know you, I look forward to learning more about the moments that have best defined Phoenix Art Museum, and art as a whole, for you. I look forward to the work we will do together to define the future of this Museum, our Museum. Kind regards,

Amada Cruz The Sybil Harrington Director

LETTER FROM THE DIRECTOR

THE

CHECKLIST

(thə\chek-list\) 1. A list of artworks to be included in an exhibition or installation. 2. A guide to can’t miss events and happenings at Phoenix Art Museum.

Discussion

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PICTURE BOOK ART LOVER BOOK CLUB

SILVER SCREENED

May 6 | 11 am and 5:30 pm May 8 | 2 pm Love art? Love to read? Join the Art Lover Book Club at Phoenix Art Museum. The meetings, which are free and open to all, are held in Lemon Art Research Library at the Museum, where you can meet other readers and art lovers, and discuss great books. This month, read The Painted Kiss, by Elizabeth Hickey, as we explore late 19th-century Vienna, where 12-year-old Emilie Floege meets the controversial libertine and painter, Gustav Klimt.

March 29 | 2 pm | Whiteman Hall Robert Louis Steven’s beloved classic comes to life in this screening of London’s National Theatre production of Treasure Island. Escape into the world of a swashbuckling search for treasure, the tale of courageous cabin girl Jim and the dangerous buccaneer Long John Silver. Appropriate for children aged ten and older. Admission is $15 for Members and students with ID and $18 for the general public.

For tickets, visit tickets.phxart.org

RSVP required.

To register, visit tickets.phxart.org

Learn BAND STAND OBJECT OF THE MONTH: MARCH March 7 and 26 | 11:30 am Join Docent Nancy Ruminski for an in-depth examination of “Farewell to the Band,” a painting by Phillip Curtis, the founding director of Phoenix Art Museum. Learn more about this vibrant, lively work as part of this free talk, included with Museum admission. For more information, visit phxart.org/events/lecturestalks

National Theatre Live Presents Treasure Island

THE CHECKLIST

Learn

Connect

COFFEE TALK PROSPECTIVE DOCENT COFFEE May 18 | 10 am–Noon

ART SCHOOL

If you love art, learning and serving your community, you might be a candidate for the Museum Docent program. Docents are volunteer educators who lead tours and present talks both in the galleries and the community. Learn more about our 16-month intensive, equally challenging and rewarding training program at our Prospective Docent Coffee. No background in art history is required.

Educators Connect at Arts Integration Workshop April 1 | 6 pm Teachers looking to infuse the arts into a wide array of subjects in their classroom can join the Education Department for Arts Integration and Appetizers. This April, learn how contemporary art can serve as a launch pad into effective instruction in unexpected areas, including history, research, writing, science, engineering, technology, and, yes, even math. Along with savory appetizers and great conversation, teachers will visit Katz Wing for Contemporary Art and enjoy a hands-on activity. Space is limited.

For reservations or further information contact the Education Department at education@phxart.org or call 602-257-2102

For details, contact education@phxart.org

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DATE WITH THE DEVIL

EARLY BIRD INFOCUS OFFERS ZUBER AWARD TO EARLY CAREER PHOTOGRAPHERS

National Theatre Live Presents Man and Superman June 28 | 2 pm | Whiteman Hall Ralph Fiennes (The English Patient, The End of the Affair, Schindler’s List ) brings to life revolutionary Jack Tanner in this reimagining of George Bernard Shaw’s complex dramedy Man and Superman. Fleeing the threat of domestic bliss, Tanner leaves lovely Anne for Spain where he encounters none other than the Devil himself in this tale of love, death, and everything in between. Admission is just $15 for Members and students with ID and $18 for the general public. For tickets visit: tickets.phxart.org

Deadline March 15 infocus-phxart.org/zuberaward INFOCUS, an organization that supports photography at Phoenix Art Museum, announces the new Sidney Zuber Award, a biennial award granted to emerging or early career photographers who demonstrate artistic promise. It is open to residents within the United States who work in a variety of photographic and media styles. The recipient will receive an unrestricted cash award of $5,000, display of their work at Phoenix Art Museum, and reimbursement of travel expenses to attend the award reception on May 20. Entries will be accepted through March 15. For details, visit infocus-phxart.org/ZuberAward.

THE CHECKLIST

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Learn REMEMBERING JEANNE March 11 | 12:30 pm | Whiteman Hall Join fashion historian Dean Merceron as he leads a lively look back at the life and work of legendary Paris designer Jeanne Lanvin, who established the Lanvin high fashion design house in 1889. Learn more about the evolution of Lanvin, including a discussion of the vision of current creative director Alber Elbaz.

TSAR APLOMB

Learn

Bolshoi Ballet Presents Ivan the Terrible May 10 | 2 pm | Whiteman Hall See the Bolshoi Ballet on the big screen in Yuri Grigorovich’s epic interpretation of the controversial reign of Ivan the Terrible, the 16th-century Russian Tsar. Drawn from music composed by Sergei Prokofiev, the monarch’s dark deeds are dramatized in visually stunning scenes. Admission is just $15 for Members and $18 for the general public. For tickets visit: tickets.phxart.org

Support

GODS IN THE GALLERY April 1 | Noon | Asian Gallery Join Dr. Anne Feldhaus, professor of Religious Studies at Arizona State University, in the Asian Gallery as she leads a discussion on the human and cosmic significance of Vishnu, Shiva, and demon-killing goddesses sculpted in stone and bronze. Sponsored by Asian Arts Council, the lecture is free with Museum admission.

POP SHOP CONTEMPORARY FORUM ART AUCTION AND DINNER March 20 | 6pm Cocktail Reception and Auction Preview 7:30 Live Auction and Dinner Cummings Great Hall The annual Contemporary Forum Art Auction and Dinner has become the most prestigious art auction in Arizona, offering a night of live bidding on museumquality art by some of the most exciting contemporary artists working locally and nationally. Enjoy delicious cocktails and culinary delights, amidst this year’s Pop Art theme, a nod to the whimsy and wonder of Warhol. All proceeds benefit Phoenix Art Museum. Individual tickets are priced at $250 each. Table prices begin at $2,500. Preview the auction items for free in advance on Wednesday, March 18 from 6-8 pm or visit contemporaryforum.org. For more information, contact Lynn Spencer, at 602.307.2029 or contemporaryforum@cox.net.

Learn PROPERTY VALUE PROFESSIONAL APPRAISAL AT THE MUSEUM April 20 | 10 am -3 pm | Singer Hall Have a treasured collectible or artwork? Join us this spring for “Discover What Its Worth,” sponsored by the Phoenix Art Museum League. A professional appraiser will examine your collectible or artwork and provide you with a verbal opinion of its value. Reservations required. Call 480.620.7727 for more information, or visit phxartmuseumleague.org

THE CHECKLIST

Why I Give

“Here, art isn’t intimidating.” – Ann Siner, CEO and Founder, My Sister’s Closet, My Sister’s Attic and Well Suited

Supporting Phoenix Art Museum Since 1989 “I first volunteered with Phoenix Art Museum more than 25 years ago. What I enjoy most about the Museum is that there really is something for everyone. Here, art isn’t intimidating; instead it’s fun and always different. What’s more, not only does supporting the Museum create opportunities to meet great people who share your interests through the many events the Museum hosts, but it’s a wonderful way to get involved and give back to your own community. Art matters to us. Our state is already beautiful. Art just enhances that beauty and gives us all another reason to smile when we say we’re from Arizona.”

WHY I GIVE

“Being good in business is the most fascinating kind of art.” Andy Warhol

We are proud supporters of the Phoenix Art Museum and enhancing the quality of life in our community. That’s just good business.

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“The idea is not to live forever, it is to create something that will.” – Andy Warhol

ANDY WARHOL: PORTRAITS March 4 – June 21 Marley Foundation Gallery | Katz Wing for Contemporary Art

ANDY WARHOL: PORTRAITS WAS ORGANIZED BY THE ANDY WARHOL MUSEUM, ONE OF THE FOUR CARNEGIE MUSEUMS OF PITTSBURGH

ADDITIONAL SUPPORT PROVIDED BY:

PROMOTIONAL SUPPORT PROVIDED BY:

HEATHER AND MICHAEL GREENBAUM

EXHIBITION

Andy Warhol: Portraits March 4 – June 21 | Marley Gallery

Andy, you’re a star There was a time when Pittsburgh was so cloaked with murky, industrial black smoke from the steel mills that the street lamps would light in the early afternoon. Part of the American rust belt, the city was a working class town of Scottish, German and Eastern European immigrants and their descendants, grimy, grim, built up around a confluence of two rivers that joined to form one. This is not the sort of town from which one would expect an internationally famous, avant-garde, and enormously influential artist to emerge from, but Andy Warhol did. He was born Andrew Warhola in 1928 to Carpatho-Rusyn (present day Slovankin) immigrant parents. A frail, sickly child beset with a rare neurological disorder, Andy was an oddity from an early age, a dreamer, a lonely misfit trying to find his way through the shrouded, post-war work-a-day city, that seemed to offer little place for him. Instead Warhol, through art, would create a place for himself, a place that no one else but him could have occupied. He left Pittsburgh in 1949 for New York, beginning his life first as an incredibly successful commercial artist. And then, in the 1960s, his paintings of a series of Campbell’s soup cans, with their statement on a life of mass-produced excess in modern America, followed by a lifelong career of peculiar, unorthodox portraits of the famous and infamous, would catapult him to international fame. The art world would never be the same. Andy Warhol: Portraits, which opens this spring at Phoenix Art Museum, offers a glimpse into the world of Warhol, with nearly 200 objects, from photographs to screenprints, avant-garde films, paintings and even silver Mylar clouds floating silently in the gallery space. The exhibition moves through portraits of ceremonial monarch Queen Elizabeth II and hyper-color renderings of the deadly Chairman Mao to commissioned portraits of celebutantes and fashion models, even Warhol’s own quirky self-portraits, a type of early take on the ‘selfie’ generation of today.

It moves us through the world as seen through the eyes of the inimitable artist, a place that has been forever altered by his influence on fine art, film, journalism, advertising, and even reality television. From his 1960’s studio space The Silver Factory, which drew fascinating young artists and personalities like Edie Sedgwick and Lou Reed, to his later years as a permanent fixture among the high-flying New York social scene of Studio 54, Warhol has long been emblematic of a revolutionary counterculture, whose effects can be felt on pop culture and the arts today, nearly thirty years after his death. The musician Lou Reed, part of the Warhol-produced band Velvet Underground, when interviewed in recent years at the Cannes Film Festival, denied that Warhol was ahead of his time. “He wasn’t ahead of his time,” Reed said, “he was on time.”

EXHIBITION

FIRST FRIDAY: EXPLODING PLASTIC INEVITABLE March 6 | 6 – 10 pm

Nowadays, the smoke in Pittsburgh has cleared with the closure of the steel industry. The city has begun the long process of reinventing itself, becoming a hub of academia and new technologies. More than that, Pittsburgh has become a place that embraces its hard edges, who seeks to imbue itself with the quirkiness and flights of fancy of its most favorite son, who after all, was an expert on reinventing himself, his art, and his world. Andy Warhol: Portraits was organized by the Andy Warhol Museum, one of the four Carnegie Museums of Pittsburgh. Its Phoenix premier was made possible through the generous support of Sue and Bud Selig, JPMorgan Chase & Co., and J. P. Morgan Private Bank. Additional supported provided by Contemporary Forum, APS, Cohn Financial Group, Sharron and Delbert R. Lewis Exhibition Endowment Fund, Sharon and Lloyd Powell, and Heather and Michael Greenbaum. Promotional support is provided by Cox Communications and The Phoenician.

Experience First Friday like never before. Based on one of Warhol’s most famous parties at his legendary Silver Dream Factory in New York, the Museum doors open to all of every age, for a night full of exciting events including live, Warholinspired music across the Museum, poets reading in the galleries, drag queens, DJs, improvisational dancers, lightworks, films, vintage fashion and cocktails. Entry to the party is free as our First Friday events are generously supported by Macy’s and Ernst & Young, LLP. Special admission to Andy Warhol: Portraits will be $2–this one night only. Hop on the light rail or cruise down on your bike for a night of fun and frivolity that Warhol himself would envy. For details, visit phxart.org/events

WARHOL UP CLOSE Check your mailbox for your personal invitation to these exciting Members’ events.

MEMBERS’ PREVIEW DAY March 1 | Noon Join us for a exclusive preview of the exhibition before it opens to the general public.

CONVERSATION WITH A CURATOR March 2 | 5:30 pm For Members with the Insider package, join us for an in-depth discussion of the Warhol portraits led by Dr. Jerry N. Smith, Curator of American and European Art to 1950 and Art of the American West.

UPPER-LEVEL MEMBERS’ RECEPTION March 2 | 6 pm Members with our Social package are invited to join us for an exclusive reception with complimentary hors d’oeuvres, live music and a cash bar.

EXHIBITION

Why We Give

“We support the Museum, not only for ourselves, but for our children and grandchildren.” – Milena Astorga, Master Docent and Community Volunteer – Tony Astorga, Museum Trustee and Retired Executive, BCBSAZ

Supporting Phoenix Art Museum Since 1990 “We first were introduced to Phoenix Art Museum through the Circles of Support more than twenty years ago. We came to enjoy most the Museum’s many traveling exhibitions and lectures which illuminate the artworks in deeper and more profound ways. For us, supporting the Museum benefits us by having a continuous learning experience about all types of fine art, not only for ourselves, but for our children and grandchildren. Arts and culture help to educate our community and quality art institutions are an indirect economic development driver for our state. But more than this, the programs and exhibits at museums like Phoenix Art Museum provide an opportunity for our children to learn and appreciate the history of art, and that is worth everything.”

WHY I GIVE

Point of View: JERRY N. SMITH, CURATOR, ON WARHOL It is fascinating that nearly three decades after his death, Andy Warhol remains one of the world’s most popular artists. Warhol was a true “superstar” in his own time, and today is perhaps as well known for his famous wigs and detached persona as he is for his iconic Pop Art imagery. He clearly recognized the psychological power of product branding, which he applied to himself by blending art, artist and business. He was brilliant in this regard, and a lot of people miss how much effort Warhol put into the business side of his artistic endeavors. He made television appearances, including an episode of Love Boat, co-founded Interview Magazine, had an early series on MTV, all of which kept the Warhol brand in the public eye. The beauty of this exhibition is that it focuses on the artist’s portraits, a single, but major aspect of Warhol’s artistic production that allows us to examine his ideas of fame and the celebrity culture of seeing and being seen. The exhibition covers the arc of his career, from student drawings in the 1940s to the images of the rich and famous that defined his late years in the 1970s and ‘80s. He ultimately handled portraiture in a manner similar to commercial products, like cans of Campbell’s Soup or bottles of Coca-Cola, emphasizing the surface of his subjects rather than attempting to dig into and present the inner beings of his models. Warhol routinely worked from Polaroid or photo-booth photographs, which flatter the sitters by washing out details from the bright flash of light. On top of this, he added bright colors, making people even more stunning and fabulous. Honestly, who wouldn’t have wanted to have their portrait done by Andy Warhol?

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WARHOL’S NEWSFEED If Warhol were still alive, ever wonder which contemporary celebrities would appear in his next series of portraits? What his Instagram or Facebook feed would look like? Dr. Jerry N. Smith speculates on the top five famous faces that might have drawn Warhol’s attention today. 1 | Kim Kardashian. As a reality television celebrity, Kardashian would have intrigued him, being someone famous simply for being famous. How could Warhol not be interested? 2 | Kehinde Wiley. Wiley is one of today’s most acclaimed contemporary artists. Warhol made several portraits of fellow artists some of which are in the exhibition. Wiley lives in New York and I can imagine they would cross paths frequently if Warhol were alive today. An option here might be Jeff Koons, although Warhol might have imagined Koons more as competition than artistic colleague. 3 | Mark Zuckerberg. The young billionaire Facebook creator and CEO has become the face of the business potential of the internet. Warhol made several images of business leaders in his time, and today he would have been happy to do Zuckerberg’s portrait. It would be a business decision because it would lead to commissions from other internet business owners. 4 | Donna Tartt. The Pulitzer Prize winning author of The Goldfinch became a literary superstar in 2014. She is an intriguing individual with striking features and an androgynous fashion sense that seems ready-made for a Warhol portrait. 5 | Amy Winehouse. The young singer tragically died of alcohol and drug abuse in 2011, and I can imagine a posthumous painting of her by Warhol. Her life and self-destruction would have fascinated him. The artist had a dark side and made several portraits of tragic figures.

EXHIBITION

“My idea of a good picture is one that’s in focus and of a famous person.” – Andy Warhol

SEE: Warhol and the Age of the Selfie Christian Adame, Associate Curator for Education, on what he sees in Warhol’s portraits. In our narcissistic culture saturated with reality television, selfies, shares, likes, and retweets, everyone wants to be noticed. Actors, musicians and models now compete for attention from viral video stars (goats included), who can literally become famous overnight. A single spotlight no longer exists. I currently subscribe to six different social media platforms. Along with reading art magazines and education theory, I watch the Academy Awards® red carpet, read TMZ & D-Listed, and scroll through photos of Beyoncé at the Louvre. I follow Grumpy Cat on Instagram. Fame was Andy Warhol’s obsession. Some 25 years after his death, we are still living (and contributing to) this obsession. Warhol became famous by making pictures of famous people, often for famous people. If he didn’t know them, he sought them out, or they commissioned him. A Warhol portrait meant instant clout and attention.

TELL US WHAT YOU SEE. When you visit Andy Warhol: Portraits, share your impressions on Twitter and Instagram. Use #WarholPhx.

#WARHOLPHX

I was born in the early 80s, some twenty years after Warhol established his Factory. I was four when he died. Growing up, Warhol was a household name, but of a time I couldn’t relate to. I think about whom the Warhol of today might be, and what purpose s/he might serve. I think about how my peers will respond to this exhibition in 2015. Will his era resonate in ours? Now more than ever, fame is manufactured, in a factory of a different kind. There is an audience and a following for everything. Did Warhol lay the foundation for our self-obsessed culture, or question it by bringing it to the forefront? In the faces of his famous friends, do we continue to see ourselves?

SELFIE SCREEN TEST Warhol was one of the first artists to use film as an art form, with his three-minute screen tests that served as a kind of moving portrait. When you visit the show, stare down the camera and make your own screen test.

EXHIBITION

15 minutes with Warhol

Set your watch. Christian Adame, Associate Curator for Education—the top five objects he’d be sure to see if he had just 15 minutes to spend in the gallery.

1 2

3 4 5

Andy Warhol, 1945. I’d never really seen Warhol as a young man, without his signature look from the 60s and 70s. This is a great picture taken in a photobooth when he was just 17. Sleep, 1966. I am a huge fan of Warhol’s films. I love their simplicity and their focus on mundane behaviors (sleeping, eating, kissing). They force you to slow down and really study someone’s face and emotional state. I love how uncomfortable they make some people. This image was likely a still transferred from his film Sleep. Self Portrait in Drag, 1981. Classic Polaroid of Warhol in drag. I mean, c’mon. Amazing. Tina Chow, 1985. 80s fashion icon rendered in iconic Warhol colors. Silver Clouds, 1966. A chance to let loose and play in the exhibition. I think visitors are going to love this aspect of the show. Warhol was really just into having fun.

EXHIBITION

Contemporary Forum

WE SUPPORT WHAT’S NEW, WHAT’S NOW, WHAT’S NEVER BEEN DONE BEFORE. Contemporary Forum is dedicated to promoting interest, knowledge, and understanding of contemporary art through the acquisition of contemporary art for Phoenix Art Museum, through the sponsorship of exhibitions of contemporary art, and through educational programs. Contemporary Forum aids local artists through the Arlene and Morton Scult Contemporary Forum Artist Award and Artists’ Grants Program. To date, CF has given more than $225,000 to more than 160 Arizona artists. Since 1984, CF has purchased more than 23 artworks for the Museum’s contemporary collection and contributed to another eight acquisitions. We are honored to have long been a part of some of the most defining moments in the Museum’s history and its extensive collection. CF provides its members with lectures, films, seminars, artists’ studio tours, gallery receptions, architectural tours, and private collection tours, as well as opportunities for domestic and international travel.

SUPPORT

CONTEMPORARY FORUM IS PROUD TO WELCOME

AMADA CRUZ The Sybil Harrington Director of the Phoenix Art Museum

CURATE ART WITH IMPACT. BECOME A MEMBER OF CONTEMPORARY FORUM. Don’t miss Contemporary Forum’s exciting annual fundraisers: ArtPick (November 20, 2015) – Your opportunity to be curator for a night! Cast your vote for CF’s next acquisition for the Museum’s permanent collection.

Detail: Maya Ying Lin,Pin River, Colorado River, 2010 metal pins in the wall 192 × 192 in. (487.7 × 487.7 cm) Museum purchase with funds provided by Contemporary Forum (ArtPick 2010)

Art Auction & Dinner (March 20, 2015) – A live and silent auction featuring works created by locally and nationally recognized artists. Funds raised are used for the acquisition of contemporary art for the Museum’s permanent collection.

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Berkeley Reinhold Painting | Acrylic and silkscreen ink on canvas The daughter of jewelry designer and Warhol’s close friend, John Reinhold, Berkeley took a taxi by herself to the Factory to have Warhol paint her portrait. What’s more, she asked the artist to paint a Campbell soup can for her teacher in order to score her an A in the class. The teacher was impressed, but gave her a B.

Gallery Guide: Warhol’s Subjects The exhibition, which features installation objects, drawings and photographs of the artist himself as a young boy, also features some of the artist’s most dynamic and recognizable portraits. A blend of paintings and prints, these iconic images tell the story of both the subject and the world in which they inhabit, in Warhol’s unique, signature style. While many of the subjects were widely acclaimed in their time and are still household names, some may be unfamiliar to audiences in 2015. Take a closer look at the subjects of some of these portraits and get the inside scoop on the story beyond the canvas.

Walter Terry – Dance Drama Critic, 1950s Drawing | Ink on Manila paper During Warhol’s early residency in New York City, his roommates were dancers, and he became immersed in that world, producing a series of figure drawings, including much-admired dance critic Walter Terry. Terry, whose career spanned 50 years, wrote for the New York Herald Tribune and traveled internationally as a lecturer. Geraldine Page the Immoralist, 1954 Drawing | Ink on Manila paper Nominated for eight Academy Awards before receiving the coveted statuette in 1985, Geraldine Page was a critically acclaimed stage and film actor. Page was a contemporary of Warhol’s, who gained acclaim for her work on Broadway, including a lead role in 1954’s The Immoralist, as a married woman who falls in love with a young James Dean. She died in 1987, just a few months after Warhol. Shirley Booth in By the Beautiful Sea, 1954-1955 Drawing | Ink on Manila paper Shirley Booth was an American stage and film actor who began her 50-year career on Broadway in 1925. A contemporary of Warhol’s, she was most known for her role as Lola in the stage play and film Come Back, Little Sheba, for which she would receive a Tony, Academy Award and Golden Globe. By the Beautiful Sea was a popular musical. Booth died in 1992. Self-Portrait with Ted Carey, 1960 Drawing | Graphite on Strathmore paper Ted Carey was a painter and one of Warhol’s commercial art assistants. Along with his lover John Mann, he was sketched multiple times by Warhol. The two met at an exhibition of cat drawings, and later, met again in the cafeteria of a zoo. Together, they sat for a portrait by artist Fairfield Porter, in the hopes of saving money, with plans to cut the canvas in half.

Joan Crawford, 1962 Drawing | Graphite on paper Joan Crawford is considered one of the most legendary and often notorious actors in Hollywood history. Crawford began her career as a dancer before transitioning to silent films, ultimately dominating the film industry as a leading lady throughout the 1930s, 40s and 50s. A colorful figure, she is most known for her Academy-Award-winning turn in 1945’s Mildred Pierce. Warhol’s drawing was based on an ad Crawford had appeared in for Maybelline cosmetics. Warren, 1962 Painting | Silkscreen ink on linen Seasoned actor Warren Beatty was a young man of 25 when Warhol created this unique portrait. The recipient of multiple Academy Awards, including the Irving G. Thalberg Award, the Academy’s highest honor, Beatty is one of Hollywood’s most acclaimed actors, directors and producers. Later a regular at Studio 54 and a longtime acquaintance of Warhol’s, Beatty’s portrait, along with one of 1960s star Troy Donahue, was one of Warhol’s first attempts at silk screen portraits, before attempting his famous 1962 vision of Marilyn Monroe. Merce Cunningham, 1963 Painting | Silkscreen ink and graphite on linen Based on a source photograph by Richard Rutledge, this portrait features Mercier Cunningham, an American dancer and choreographer first discovered by Martha Graham. In 1968, when Cunningham attended an exhibition of Warhol’s Silver Clouds installation, featuring 150 silver balloons inflated with air and helium, the choreographer asked Warhol to use the “clouds” on stage. The result was the 1968 performance RainForest. Silver Clouds is on view in this exhibition. Ethel Scull, 1963 Painting | Silkscreen ink and acrylic on linen The portrait of Ethel Scull, wealthy socialite and Pop Art collector, was one of Warhol’s commissioned portraits. Scull later complained that Warhol had rudely demanded his payment in cash, a claim which Warhol flatly denied and described as “nutty.” Edward Villella, 1963 Photograph | Facsimile of an original photobooth photograph Edward Villella was an American ballet dancer and choreographer, and considered the most celebrated danseur of his time. He was the only American ever invited to perform at the Bolshoi Theatre in Moscow.

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Judith Green, 1963-1964 Photograph | Facsimile of an original photobooth photograph Judy Green was a wealthy socialite, novelist and philanthropist, who was widely considered to be Warhol’s first muse. She appeared in Warhol’s first film, Kiss, which featured couples kissing on camera for three minute intervals, now on permanent view at the Museum of Modern Art in New York. The beautiful and vivacious Green first began as a copywriter, later writing racy novels, before marrying a wealthy businessman many times her age. The American Man (Portrait of Watson Powell), 1964 Painting | Acrylic and silkscreen ink on canvas This portrait features a true glimpse of the everyman, separate from the long list of socialites and celebrity figures. When businessman Watson Powell, Sr., founder of American Republic Insurance Company, built his company’s headquarters in Iowa, he charged his son with expanding the corporate art collection. His son met Warhol in his studio and commissioned a portrait of his father to hang in the Des Moines headquarters, where the family-led company is still centered today.

Jackie, 1964 Multiple paintings | Acrylic and silkscreen ink on linen Jacqueline Kennedy Onassis was the wife of the 35th President of the United States of America, John F. Kennedy, until his assassination in Dallas in 1963. At the time of his assassination, her image in the pink tweed chez Ninon suit and pillbox hat became a constant fixture on national news during the days following the President’s death. These were the first portraits Warhol based on press photographs and newspaper images, a nod to the crucial role the media plays in American society. Warhol and Onassis had a complex and often catty relationship, as they moved in similar social circles in New York City in the 1970s and 80s. She died in 1994. Maquette (Teenagers), 1964-1956 Photographs | Facsimile of original photobooth photographs mounted to cardboard This collection of photobooth images was used for the cover of a 1965 issue of Time Magazine, illustrating a story on “Today’s Teenagers.” The images, which were taken in an arcade on Broadway, features Liza Donovan, Jim Boyd, Jo-Ann Guida, Joe Wright, Jim Straus, Betsey Herman, and Jim McLaughlin, all relatives of staff members at Time Magazine.

Beauty Vision Thoughtfulness Thank you Phoenix Art Museum for another year of inspired exhibitions and stimulating arts programming.

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Edie Sedgwick, c. 1965 Photograph | Facsimile of an original photobooth photograph The fashion model and actor Edie Sedgwick is the woman about whom Warhol first originated the term ‘superstar.’ “It Girl” Sedgwick’s name is synonymous with Warhol’s Factory days. She starred in many of his films, was the subject of his art, and became a fashion icon in her own right for her signature black leotards and cropped hair. She was rumored to be the inspiration for Bob Dylan’s hits “Just Like a Woman” and “Like a Rolling Stone,” as well as songs by The Cult and Velvet Underground. Depicted throughout popular culture, she was most recently portrayed by Sienna Miller in the 2006 film Factory Girl. Sedgwick, who eventually ended her relationship with Warhol, died in 1971.

Gerard Malanga, c. 1965 Photograph | Facsimile of an original photobooth photograph Gerard Malanga is still considered one of Warhol’s most important associates and influences. A poet and filmmaker, Malanga appeared in and collaborated with Warhol on many of his iconic films, as well as co-producing his 1967 film Bufferin, in which Malanga read his own poetry. Malanga worked closely with Warhol on his screen tests, as well as much of his silkscreen print work. Their relationship would grow more complicated after the poet was accused of creating and selling Warhol forgeries. Miriam Davidson, 1965 Painting | Spray paint and silkscreen ink on linen Miriam Davidson was an art collector who commissioned this portrait in 1965. Davidson had her photographs taken in a photobooth near her home in Toronto, which were sent on to Warhol’s studio. The portrait was a wedding gift from her husband. She would later say the portrait “was both me and not me at the same time.” Susan Bottomly (International Velvet), c. 1966 Photography | Facsimile of an original photobooth photograph Appearing in a screen test as well as some of Warhol’s films, Susan Bottomly was a cover model and actress whom Warhol described as exquisitely beautiful. Bottomly, whom Warhol renamed International Velvet, went on to replace Edie Sedgwick after her break with Warhol.

is honored and proud to have shared a friendship with Jim Ballinger and the Phoenix Art Museum for almost four decades. Thank you, Jim. You will be missed!

651 Canyon Road, Santa Fe, NM 87501 505.982 .6 100 • zaplinlampert.com Henry Cheever Pratt, Tumacacori Mission , 1855, oil on canvas Collection of Phoenix Art Museum, gift of Frances Hover Stanley and Carolanne Smurthwaite, by exchange

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Marilyn, c. 1967 Painting | Acrylic and silkscreen ink on paper Marilyn Monroe remains, to this day, one of the most famous American women who has ever lived. A gifted actor who studied with Lee Strasberg and an iconic star of the silver screen, her steamy, voluptuous beauty was softened by her fragility and the tragic nature of her short life. She died of an overdose in 1962. Warhol was moved both by Monroe’s beauty, vulnerability and tragic death, and commenced a series of portraits as a tribute to her. Robert Rauschenberg, 1967 Painting | Acrylic and silkscreen ink on linen Robert Rauschenberg was an American artist long considered a rival of Warhol’s. His series Combines anticipated the Pop Art movement and influenced Warhol’s own work, in the same way that his celebrities influenced some of Rauschenberg’s own later work. The two would have a long and complicated friendship. Rauschenberg died in 2008.

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Roy Lichtenstein, 1967 Painting | Acrylic and silkscreen ink on linen

Alexander Iolas, 1970 Two paintings | Acrylic and silkscreen ink on canvas

John Coplans, 1973 Painting | Acrylic and silkscreen ink on canvas

A contemporary of Warhol’s, Lichtenstein was an acclaimed Pop artist, known for his signature ‘comic book’ style featuring bold colors and Ben-Day dots. Born into a middle-class Jewish family in New York City, Lichtenstein followed the reverse path of Warhol, leaving New York behind for Rust Belt Ohio, where he studied art. The two shared a mutual respect for each other’s work despite early rivalry, and Warhol would later write in his personal diaries that Roy Lichtenstein was “my favorite painter after [James] Rosenquist.” Lichtenstein died in 1997.

Alexander Iolas was a Greek art collector and gallery owner, who represented Warhol in his galleries. Iolas first began as a ballet dancer, studying in Paris before fleeing due to the Nazi invasion. After a career-ending injury, he moved to New York where he began his career as a gallerist. He died in 1987.

John Coplans was a British photographer and museum curator. As a photographer, he was most known for his black-and-white self-portraits. As a curator of the Pasadena Art Museum, he was a passionate supporter of Pop Art, who would organize surveys and retrospectives of the art of Lichtenstein and Warhol. He died in 2003.

Frank Stella, 1967 Painting | Acrylic and silkscreen ink on linen Frank Stella is an American painter, printmaker, and sculptor known for his abstract paintings, influenced by the Abstract Expressionist movement. Donald Judd, 1967 Painting | Acrylic and silkscreen ink on linen Donald Judd was an American minimalist artist, and a contemporary of Warhol. He has long been considered the leader of the minimalist movement, a term he despised. He died in 1994. Larry Poons, 1967 Painting | Acrylic and silkscreen ink on linen Larry Poons is an abstract painter often associated with both Op Art and Abstract Expressionism. A contemporary of Warhol’s, he was, for a time, a guitarist with avant garde art band The Druds and also raced vintage motorcycles. Robert Morris, 1967 Painting | Acrylic and silkscreen ink on linen Robert Morris was a close friend of Warhol’s, and is a sculptor and jewelry designer. Throughout his career, he has designed collections for Calvin Klein, Karl Lagerfeld, Michael Kors, Geoffrey Beene, Donna Karan and Kansai Yamamoto. Warhol gave Morris three of his paintings as personal gifts. Nelson Rockefeller, 1967 Painting | Acrylic and silkscreen ink on canvas Nelson Rockefeller was a scion of one of America’s wealthiest families. He served as a Governor of New York and as Vice-President under Gerald Ford. A supporter of the arts, Rockefeller commissioned his portrait from Warhol.

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Yves Saint Laurent, 1972 Painting | Acrylic and silkscreen on linen Yves Saint Laurent was an iconic French fashion designer, regarded as one of the greatest designers in the history of fashion. He is credited with the rise of post-war couture and ready-to-wear fashion, and is one of the first designers to use women of color as models. He and Warhol were lifelong friends. He died in 2008. Mao, 1973 Two paintings | Acrylic and silkscreen ink on linen Screenprint | Screenprint on wallpaper Considered one of the most important persons in modern history and shrouded in infamy, Mao Tse-Tung was a revolutionary Communist leader who founded the People’s Republic of China in 1949, where he governed for nearly 30 years. He initiated the Chinese Cultural Revolution in which millions of people were tortured and killed. He is responsible for the deaths of some 70 million Chinese, through starvation, forced labor, and executions. Warhol painted this portrait using Chairman Mao’s official state portrait, one that hung in every home in China. He died in 1976.

Gerald Ford, 1974 Painting | Acrylic and silkscreen ink on canvas Gerald Ford was a Congressman from Michigan who became the 38th President of the United States in 1974 upon the resignation of Richard Nixon. During his short presidency, he signed the Helsinki Accords, a first and crucial step in ending the Cold War. He died in 2006. Joseph Kosuth, 1974 Two paintings | Acrylic and silkscreen ink on linen Joseph Kosuth is an acclaimed American conceptual artist and a contemporary of Warhol’s. His work focused on stripping art of all emotion, reducing and simplifying it solely to a transmission of information. John Richardson, 1974 Two paintings | Acrylic and silkscreen ink on linen John Richardson was a British art historian and a close friend of Warhol’s, who wrote Warhol’s eulogy in 1987. In addition to his friendship with Warhol, Sir Richardson was a close friend and biographer of Pablo Picasso. Carol Coleman, 1975 Two paintings | Acrylic and silkscreen ink on linen Carol Coleman was a close friend of Warhol’s longtime business manager, Fred Hughes. Coleman’s parents commissioned four portraits of her, of which two are on view in this exhibition. Warhol would describe her in his diaries as having beautiful eyes, rich and never married. “She has problems,” he would write. Joe McDonald, 1975 Two paintings | Acrylic and silkscreen ink on linen Joe McDonald was a friend of Warhol’s, and a print and runway model in the 1970s. His final work as a model was in a New York Times fashion spread, which featured his ravaged and worn visage, emaciated from his battle with AIDS. McDonald died in 1983.

Dorothy Hamill, 1977 Painting | Acrylic and silkscreen ink on linen

Neil Sedaka, 1979 Two paintings | Acrylic and silkscreen ink on linen

Dorothy Hamill was an iconic American figure skater and 1976 Olympic gold medalist. She was once considered one of the most popular and beloved American athletes. Her portrait was one of a series of ten commissioned portraits called “The Athlete Series.”

Neil Sedaka is an American musician and composer, best known for his hits “The Lion Sleeps Tonight,” “Calendar Girl,” and “Breaking Up is Hard to Do.” He would also compose big hits for artists like Connie Francis. Despite their friendship, Warhol expressed uncertainty and reluctance to do Sedaka’s portrait, believing the musician was “too fat.”

Evelyn Kuhn, 1977 Two paintings | Acrylic and silkscreen ink on linen

Bob Colacello, 1979 Photograph | Facsimile of original Polaroid 20 x 24” print

Evelyn Kuhn was a fashion model who appeared on the cover of Vogue, Cosmopolitan, and Harper’s Bazaar, as well as a print model for Revlon and Cover Girl. In addition to her portrait by Warhol, she was also photographed by legendary photographer Richard Avedon.

Bob Colacello was a close friend of Warhol’s, a columnist and later executive editor of Warhol’s magazine Interview. He is one of the most frequently mentioned figures in Warhol’s diaries, and was responsible for securing many of the commissioned portraits Warhol would complete in his career.

Mark Leibovitz, 1977 Two paintings | Acrylic and silkscreen ink on linen Mark Leibovitz was an art dealer in New York in the 1970s. He was a permanent fixture at Studio 54, and this portrait is considered one of Warhol’s finest, capturing the mythic world of the wild, hedonistic years of the late 1970s. Liza Minelli, 1977 Photograph | Facsimile of an original Polaroid Polacolor Type 108 Liza Minelli is a star of stage and screen, a songstress best known for her turn as Sally Bowles in the 1972 film version of Cabaret. The daughter of Hollywood legend Judy Garland, Minelli became close friends with Warhol in the 1970s. Younger audiences may better recognize her as Lucille Austero, the on-again, off-again love interest of Buster Bluth on the cult-hit Arrested Development. Arnold Schwarzenegger, 1977 Photograph | Facsimile of an original Polaroid Polacolor Type 108 Arnold Schwarzenegger is a former body-builder and Mr. Universe turned actor-filmmaker and politician. Following a catapult to fame after his appearance in the documentary Pumping Iron, Schwarzenegger enjoyed success as an actor in the Terminator series. He would later reinvent himself, serving as the 38th governor of California. In 1986, he married Maria Shriver, a member of the Kennedy family, a wedding which Andy Warhol attended with Grace Jones.

Carolina Herrera and her portraits, c. 1980 Photograph | Gelatin silver print Pele, 1977 Photograph | Facsimile of an original Polaroid Polacolor Type 108 Pele is a retired Brazilian soccer player, who is considered to be the greatest player in the history of the game. During the height of his fame, he was one of the highest paid athletes, acclaimed for his social activism in shedding light on the poverty in his native Brazil. Warhol would describe him as funny looking, “but when he smiles he looks beautiful.” Mr. and Mrs. Chamberlain, c. 1978 Two paintings | Acrylic and silkscreen ink on canvas John Chamberlain was an American sculptor best known for his abstracted metal sculptures made from old automobiles. Lorraine Chamberlain was his young wife, and had been a muse to Frank Zappa. John Chamberlain died in 2011. Barbara Heizer, 1978 Painting | Acrylic and silkscreen ink on linen Barbara Heizer was the wife of Michael Heizer, an American abstract painter, sculptor and land artist, a contemporary of Andy Warhol. The couple, who often socialized with Warhol, would later divorce.

Carolina Herrera is an iconic fashion designer, and was a fixture in the Studio 54 days, close friends with Andy Warhol and Mick Jagger. Born in Venenzuela, she later emigrated to America, where she became known for dressing many American First Ladies, including Jackie Kennedy and Michelle Obama. Sylvester Stallone, 1980 Two paintings | Acrylic and silkscreen on linen Sylvester Stallone is an American actor and filmmaker, whose meteoric rise to fame began with his turn as Rocky Balboa in the 1976 Academy-Award-winning film, Rocky. A close friend of the actor’s, Warhol completed a second portrait of Stallone because he wanted to revisit this subject after Stallone shaved his beard. Howdy Doody, c. 1980 Photograph | Gelatin silver print Howdy Doody was a Western-themed puppet and fictional character who was the central figure of a popular children’s television show that ran from the late 1947 until 1960.

Michael Heizer, 1978 Painting | Acrylic and silkscreen ink on linen Michael Hezier is an American sculptor, land artist and abstract painter, and a contemporary of Warhol. Along with David Whitney, he was a close friend of the artist.

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Jerry Hall, c. 1981 Photograph | Gelatin silver print

Jane Fonda, 1982 Print | Screenprint on Lenox Museum Board

Jerry Hall is a former American model and actress best known for her lengthy romance with Rolling Stones front man, Mick Jagger, for whom he would leave his wife, Bianca. Hall was a fixture in the Studio 54 scene. At the time of the portrait, she was pregnant with the couple’s first child.

Jane Fonda is an Academy-Award-winning American actress, fitness guru, feminist, and political activist. She came under fire in the 1970s for her controversial, anti-Vietnam protests. Warhol created this commissioned portrait for free, as a favor to Fonda who was raising funds for her then-husband’s political campaign. Despite the favor, Fonda would later decline to be featured in Warhol’s book, which bothered him greatly.

Samuel and Ethel LeFrak, 1982 Two paintings | Acrylic and silkscreen ink on linen Samuel LeFrak was a wealthy real estate tycoon who commissioned this portrait of himself and his wife, Ethel. The LeFraks repeatedly contacted Warhol’s studio with complaints about the portrait, primarily regarding Ethel’s hair and eye color and the shape of her nose. Warhol called the experience “the Night of the Living Portraits.” Alfred Siu, 1982 Two paintings | Acrylic and silkscreen ink on linen Alfred Siu was a wealthy engineer and industrialist from Hong Kong who was introduced to Warhol through curator Jeffery Dietrich, and would later commission his portrait.

Jean-Michel Basquiat, 1982 Photograph | Facsimile of an original Polaroid Polacolor ER Jean-Michel Basquiat was a Brooklyn-born painter who began his career first as a graffiti artist, before moving on to Neo-Expressionism and Primitivism. Basquiat was a close friend and protégée of Warhol, who mentored the younger artist. After Warhol’s death, Basquiat grew depressed and his heroin addiction intensified. He died of an overdose in 1988.

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1/30/15 11:22 AM

Truman Capote, 1982 Photograph | Gelatin Silver Print

Cornelia Guest, 1983 Two paintings | Acrylic and silkscreen ink on linen

Robert Mapplethorpe, 1983 Two paintings | Acrylic and silkscreen ink on linen

Truman Capote was a celebrated American writer, best known for his acclaimed works In Cold Blood, Breakfast at Tiffany’s, and Other Voices, Other Rooms. He left the South behind, where he had grown up with close friend Harper Lee, for New York as a young man. Warhol had always been a fan of Capote, writing him fan letters, and did his first solo show based on Capote’s work, called “Fifteen Drawings Based on the Writings of Truman Capote.” Some sources say Capote hated Warhol, while others indicate that once they finally met, they became friends.

Cornelia Guest is a wealthy American socialite. Warhol befriended Guest when she was a little girl, and could sometimes be found coloring with her. Warhol was one of the many famous guests who would attend her 18th birthday party. The New York Times coined her the first “celebutante.”

Robert Mapplethorpe was a celebrated American photographer, best known for his series of controversial, erotic photographs of male and female nudes. The two artists became friends, and Mapplethorpe photographed Warhol. Mapplethorpe contracted the AIDS virus, and died from complications in 1989.

Tennessee Williams, c. 1983 Painting | Acrylic and silkscreen ink on canvas Tennessee Williams was an American writer, considered to be one of the greatest playwrights in American history. He is best known for his plays A Streetcar Named Desire, Cat on a Hot Tin Roof, and The Glass Menagerie. He and Warhol became close friends who socialized often until the playwright’s death in 1983.

Keith Haring and Juan Dubose, 1983 Two paintings | Acrylic and silkscreen ink on linen Keith Haring was an American artist best known for his simple, colorful figures and sleek, dark lines of movement. Haring and Warhol became close friends and would sometimes paint together. Dubose was Haring’s partner for a time. Both men would be diagnosed with AIDS. Dubose succumbed to the disease first, before Haring passed away in 1990.

Corinne Cain, ASA Personal Property | Fine Arts | American Indian Arts Credentialed in Fine Arts 1982, in American Indian Arts 1987 through the American Society of Appraisers. Earned CAPP in Limited Edition Prints 1992 from International Society of Appraisers. Experienced Expert Witness. CorinneCain.com

Corinne Cain | Arts Appraiser P 602 906 1633 C 602 703 1633 toll free 1 877 906 1633 ccainaz@gmail.com As seen on AZ PBS Arizona Collectibles

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Marisa Berenson, 1983-1984 Paintings | Acrylic and silkscreen ink on linen

Doug Cramer, 1985 Paintings | Acrylic and silkscreen ink on linen

Marisa Berenson is an American actress and model, best known for her roles in Barry Lyndon and Cabaret. Berenson was the granddaughter of fashion designer Elsa Schiaparelli. She and Warhol had a close friendship. She would spend hours at The Factory sitting for Warhol’s camera. When she later wed in Beverly Hills, Warhol and designer Valentino were with her in her dressing room as she got ready to walk down the aisle.

Doug Cramer was a television producer, best known for his work on Mission: Impossible, The Brady Bunch, Dynasty, and The Love Boat. A collector of Warhol’s works who donated many to museums, Cramer was an ardent supporter of the artist, and was the force behind Warhol’s 1985 guest appearance on The Love Boat, a campy but popular set entirely on a cruise ship.

Prince, c. 1984 Painting | Acrylic and silkscreen ink on canvas Prince is the Minneosta-born, Academy, Golden Globe and Grammy Award winning R&B and rock artist best who recorded ten platinum records and more than 30 Top-40 hits. He is best known for his hits “When Doves Cry,” “1999,” and “Purple Rain,” of which he starred and directed a film of the same name. Warhol and Prince met after a concert in 1986, just a year before Warhol’s death. He would describe it as “the greatest concert I’ve ever seen.” Natalie Sparber, 1984 Paintings | Acrylic and silkscreen ink on linen Very little is known about the subject of this portrait, Natalie Sparber. Not a member of Warhol’s social circle, the portrait was likely a commission by the subject. Daniella Morrerra, 1984-1985 Photograph | Gelatin silver print Daniella Morera was the Italian correspondent for Warhol’s Interview magazine, a close friend of the artist and a fixture of the Studio 54 world. Tina Chow, 1985 Paintings | Acrylic and silkscreen ink on linen Tina Chow was an American model and jewelry designer in the 1970s and 1980s. Close friends with Warhol, he introduced her to healing crystals, which became the basis of her jewelry designs. Chow was diagnosed with AIDS in 1989, and died in 1992.

Pat Hearn, 1985 Painting | Acrylic and silkscreen ink on linen Pat Hearn was a friend of Warhol’s and a leading art dealer in New York throughout the 80s and 90s, credited as a pioneer of the East Village art scene, and an ardent supporter of new and emerging artists. When she was later diagnosed with cancer, her artist friends banded together to raise funds to cover her medical care. She died in 2000. Reigning Queens: Queen Elizabeth II of the United Kingdon, 1985 Painting | Screen print on Lenox Museum Board One of Warhol’s most iconic, later portraits was that of Queen Elizabeth, the Queen of 16 nations of the British Commonwealth, who was enthroned upon her father’s death in 1952. The portrait was commissioned by Vogue magazine in 1977, and was later purchased for the Royal collection in 2012. Dolly Parton, 1985 Photograph | Fascimile of original Polaroid Polacolor ER Dolly Parton is a famously buxom, beloved American country singer, songwriter, and actor, who has been immortalized in a Smoky Mountains theme-park called “Dollywood.” Parton received multiple Grammy Awards and has had more than 25 gold and platinum records. Warhol once described her as a “walking monologue.” Heather Watts, c. 1986 Paintings | Acrylic and silkscreen ink on canvas Heather Watts was the principal ballerina with the New York City Ballet. She was a close friend of Warhol’s. After her retirement, she began to cover the arts and became a contributing editor for Vanity Fair magazine.

Grace Jones, 1986 Paintings | Acrylic and silkscreen ink on linen Grace Jones is a colorful and eccentric fashion model, singer and actress, who was close friends with Andy Warhol before his death. They attended the Schwarzenegger-Shriver wedding together as friends, and socialized together often. He once told Jones that she should normalize her look or no one would ever hire her. Jones disagreed. Sonia Rykiel, 1986 Paintings | Acrylic and silkscreen ink on linen Sonia Rykiel is a French fashion designer, who became known as the Queen of the Knits when she created a new line of soft sweaters during her pregnancy in the 1960s. For this portrait, she posed for Warhol for four hours, as he took Polaroid after Polaroid of her. Intially Rykiel disliked her portrait, but came to love it. Peter Schuyff, 1986 Paintings | Acrylic and silkscreen ink on linen Peter Schuyff is a Dutch-born American artist, most known for his work in the Neo-Geo movement, and famously collected by Herb and Dorothy Vogel. Schuyff was a friend and contemporary of Warhol, along with Haring and Basquiat. Apollonia von Ravenstein, ca 1978-79, 1986 Photographs | Gelatin silver prints sewn with thread Apollonia von Ravenstein is a former Dutch fashion model who became friends with Andy Warhol in the 1970s. She was a sometimes fixture of the Studio 54 days, and also posed for photographers Richard Avendon and Irving Penn. Today, she is a hostess and interpreter on a cruise ship.

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ALL ACCESS: FILM IN THE WORLD OF WARHOL

Trash Cinema Come see Andy Warhol’s cinematic contemporaries and the filmmakers in their wake, in these films that take a walk on the sometimes wild and often dark side of life. March 22 | 1 pm

May 3 | 1 pm

Lonesome Cowboys (1968) Shot on location in Arizona, the film follows Ramona D’Alvarez, her perpetually stoned nurse, and five gay cowboys, who all want to have sex with a handsome drifter. Directed by Andy Warhol, written and produced by Paul Morrissey (a trash filmmaker of his own regard), and starring many familiar faces from Warhol’s Factory scene, including Viva, Joe Dallesandro, Eric Emerson, Taylor Mead, and Louis Waldon. Shocking audiences with its casual and sometimes explicit sexuality, Warhol’s method and aesthetic set the stage for future cinema of its kind. Shown in its true, original 16mm format.

Female Trouble (1974) When schoolgirl Dawn Davenport (Divine) is denied a pair of coveted cha-cha heels for Christmas, she leaves home, finding herself a model for a pair of stylists at a salon who fetishize and photograph women who commit crimes. Directed by filmmaker John Waters, who was a friend of Warhol’s in the late 1970s. The film will include an introduction by Warhol curator, Dr. Jerry N. Smith.

Rated NC-17 | 109 mins

April 5 | 1 pm Midnight Cowboy (1969) Texas cowboy Joe Buck (Jon Voigt) arrives on the harsh streets of 60s New York as a male prostitute, and he teams up with his sickly but street smart friend Ratso Rizzo (Dustin Hoffman). Received the Academy Award for Best Picture in 1970. Rated R | 113 mins

Rated NC-17 | 97 mins

June 14 | 1 pm Gummo (1997) Enter the frightening suburban hellscape of Xenia, Ohio, a town left ravaged and unrecovered from a tornado. Plagued with boredom and poverty, the two anti-heroes Solomon and Tummler pass long hours of their lives sniffing glue, listening to metal, and interacting with a carnival of bizarre and sometimes terrifying people. Rated R | 89 mins

Film buff? Keep up to date on the upcoming films and film-related lectures and events at phxart.org/events/film.

ALL ACCESS

ENGAGING

INSPIRED

DICTIONARY DAZE: A N E X P LO R AT I O N O F T H E L E X I CO N A-Z BY PETER TUNNEY New York City artist Peter Tunney became famous for his ability to transform the ordinary into the unique through his innovative art. At Rancho Solano Preparatory School, our passionate teachers also take an innovative approach, integrating a personalized curriculum with fine arts to heighten learning and inspire creativity. We are delighted to present you with an opportunity to visit our campus and experience Peter’s unique exhibit.

PUBLIC VIEWINGS: FEBRUARY 26, MARCH 26, APRIL 30 & MAY 28, 5PM – 7PM

9180 E. VIA DE VENTURA, SCOTTSDALE, AZ 85258 | WWW.RANCHOSOLANO.COM

Why I Give

“Phoenix Art Museum brings art everyday into our lives.” – Nathalie Chianura, Vice President, Roche Bobois Scottsdale

Supporting Phoenix Art Museum Since 2014 “I first chose to support Phoenix Art Museum as a means to get involved with the community and the world of art, something I’d been missing since I relocated from France. Phoenix Art Museum is really an “Eden” of contemplation and emotional connection, all amidst a place of great architectural beauty. What’s more, our work as part of Roche Bobois is to collaborate with designers worldwide, finding new talent and helping them to express their creativity through their designs. Phoenix Art Museum plays a role in that, by helping young people to discover art and new ways to express themselves through paintings and sculptures, maybe to one day become artists themselves. Art is a part of our life. It’s a connection. Phoenix Art Museum brings art everyday into our lives.”

WHY I GIVE

The Codex Leicester preserves the gifted mind of Leonardo da Vinci

Beautiful Mind From art and science to math and engineering, Leonardo da Vinci earned the title master. The uncanny power of Leonardo’s imagination and intellect has been admired and studied for half a millennium; as much as his art has mystified, his scientific studies, drawings and studies of natural phenomena have born witness to a keen mind and an ardent thirst to know and understand the world that surrounded him.

The 72-page Codex Leicester is one of the most famous of all of Leonardo’s scientific journals of study and observation. Named for the English Earl of Leicester who purchased the codex in 1717, it details Leonardo’s studies in astronomy, light, fossils and water, all penned by his own hand. More than this, it captures the process of creative thought and observation. That Codex is now on view in Leonardo da Vinci’s Codex Leicester and the Power of Observation, a study of Leonardo’s creative process, the way he reasoned through a concept, and the ways in which he influenced artists for centuries to come. See those connections firsthand through the works of some of the most acclaimed artists throughout the centuries, including Renaissance contemporary Jacopo de’ Barbari, 19th-century painters Claude Monet and Gustave Courbet, 20th-century photographers Ansel Adams and Edward Weston, and contemporary video installation artist Bill Viola. The Power of Observation captures the process of imagination, observation and discovery across 500 years of art, beginning with the astonishing mind of one man, whose mastery of so much continues to inspire us today. Leonardo da Vinci’s Codex Leicester and the Power of Observation is organized by Phoenix Art Museum in partnership with Minneapolis Institute of Arts and North Carolina Museum of Art. The exhibition and its associated programming are made possible by the generous support of The Dorrance Family Foundation, SRP, J.W. Kieckhefer Foundation, Margaret T. Morris Foundation, Virginia G. Piper Charitable Trust Exhibition Endowment Fund, The Virginia M. Ullman Foundation, BlueCross BlueShield of Arizona, Friends of European Art, Herbert H. and Barbara C. Dow Foundation. Promotional support provided by The Phoenician.

EXHIBITION

Leonardo da Vinci’s Codex Leicester and the Power of Observation Steele Gallery Through April 12

Opposite page and current page, image courtesy: © bgC3

SEE: LEONARDO AND THE POWER OF “I DON’T KNOW” Kathryn Blake, The Gerry Grout Education Director, on what she sees in the Codex Leicester. A degree in art history never prepared me for working with Leonardo’s Codex Leicester. On its surface, it is a document of science, exploring principles of physics that I cunningly managed to avoid learning during my formal schooling. As I worked through translations of each page and illustration, trying to summarize the density of thought for visitors, it became clear that it is, more precisely, a document of observation. Observation as a skill lies at the heart of science, and at the heart of art history as a discipline and art appreciation as pleasure. Even when I did not fully comprehend Leonardo’s words, I could observe and admire his flexibility of mind, his insatiable curiosity about the world around him. It reminded me that seeking to explain something we don’t yet understand involves imagination as well as logic. Arriving at a wrong conclusion for good reason is simply part of the process. Art and science are different expressions of the same impulse to explain or convey what we see or experience. I felt a certain synergy between my naive approach to Leonardo’s manuscript and his approach to natural phenomena. A lack of knowledge creates a lovely opportunity to exercise creativity, to extrapolate what we know to what we don’t, to connect ideas in new ways. It is a privilege to be in the presence of a document that reminds us so clearly that the greatest value lies in questioning, not in telling.

TELL US WHAT YOU SEE. When you visit Leonardo da Vinci’s Codex Leicester and the Power of Observation, share your thoughts and ideas on Twitter and Instagram. Use #LdVCodex.

#LDVCODEX EXHIBITION

Friends of European Art EVERY GREAT CLASSIC TELLS A STORY. THIS IS OURS. From springtime in Paris to a predilection for all things Italian, Friends of European Art is a place for those who treasure the art, culture, and history of Europe. As a support organization, we help fund exhibitions, acquisitions, and educational opportunities that illuminate European art. We have been honored to have played a vital role in the defining moments of both the Museum and its extensive collection. Whatâ&#x20AC;&#x2122;s more, our members form lasting friendships as they travel, dine, and learn together at preview parties, lectures, and private dinners. Forge new relationships with those who share your passions and your love of the classical, the baroque, the distinctly European. Who We Are Founded in 1997, Friends of European Art is an active group of people that promotes and inspires enthusiasm for and interest in European art. FEA supports Phoenix Art Museumâ&#x20AC;&#x2122;s collection through funding acquisitions, exhibitions, and educational programs in European art. What We Do FEA members sponsor internationally-renowned speakers for public lectures in Whiteman Hall and salons in private homes of members and collectors. FEA has traveled abroad to France, Germany, Italy, and Russia. Our domestic trips have taken us to New York City, Washington DC, Chicago, Houston, and San Francisco. Join Us Come along and feel passionate about European art, party like Bacchus and Ariadne, and learn the story behind many works of European art! Every great painting tells a story. Join Friends of European Art today and become a vital part of this exciting group of art enthusiasts.

friendsofeuropeanart.org

SUPPORT

Gustave Courbet, Beach at Dieppe, 1865-1870 Oil on canvas Collection of Phoenix Art Museum, Gift of Mr. & Mrs. Arthur Murray

SUPPORT

Paul Jenkins (1923-2012) Phenomena Point Swing Flank,1981 Estimate $40,000/60,000

Sold for $60,000

Karl Appel Robert Arneson Charles Arnoldi Milton Avery Francis Bacon John Baeder Jean-Michel Basquiat Harry Bertoia Alexander Calder T.C. Cannon John Chamberlain Dale Chihuly Chuck Close Robert Cottingham Philip Campbell Curtis Richard Estes Eric Fischl Sam Francis Helen Frankenthaler Francoise Gilot

Keith Haring James Havard Al Held Damien Hirst David Hockney Hans Hoffman Robert Indiana Jasper Johns Donald Judd Wilfredo Lam Roy Lichtenstein Robert Longo Morris Louis Merrill Mahaffey Ed Mell Joan Miro Joan Mitchell Armando Moroles Robert Motherwell Dan Namingha

Robert Natkin Ed Paschke Philip Pearlstein Pablo Picasso Paul Pletka Mel Ramos Robert Rauschenberg Diego Rivera Larry Rivers James Rosenquist Ed Ruscha Bill Schenck Fritz Scholder Richard Serra Esteban Vicente Ted Waddell Andy Warhol Tom Wesselmann William T. Wiley Francisco Zuniga

Upcoming Auction Fall 2015 3705 N. Bishop Lane • Scottsdale, Arizona 85251 • 480-941-0900 larsengallery.com • larsenartauction.com

Eric Fischl

Advice for aspiring artists: “Learn to recognize what opportunity is, and always take opportunity when it comes.”

Artist and a graduate of a Maricopa Community College

Meet Our Emerging Artists on April 15

This FREE EVENT is OPEN TO THE PUBLIC • Visit: www.maricopa.edu/arts for more information • 5:30 pm @ the Herberger Theatre in Phoenix

Congratulations Jim Ballinger for your magnificent reign at Phoenix Art Museum. You are a living treasure, enriching all Arizona. â&#x20AC;&#x201C; Monica and Terry Goddard

One-of-a-Kind: Unique Photographs from the Center for Creative Photography Norton Family Photography Gallery April 11 to October 25

Hit Singles New photography exhibition focuses on one-of-a-kind, single edition artworks. When it comes to photography, we often think in a series of editions, or maybe the limitless reproducibility of digital snapshots. But some photographic artworks defy those expectations. Process like daguerreotypes, tintypes, and Polaroid prints produce only single, one-of-a-kind objects, which require a special level of intention, creating the possibility of real masterpiece…or a massive miss. One-of-a-Kind: Unique Photographs from the Center for Creative Photography explores these rare birds of the photographic world, with unique artworks that include sculpting, collaging, painting or drawing on or with photographs. It will examine the methods used in making these unique objects while featuring artworks from the entire history of photography, from the 1840s to present day, including those by David Emitt Adams, Betty Hahn, Joyce Neimanas, Susan Rankaitis, and Andy Warhol. In an age where Instagram and selfies dominate our digital lives, One-of-a-Kind is a journey through the unique and fleeting, a moment in time that can never be repeated again. One-of-a-Kind: Photographic Objects from the Center for Creative Photography is organized by The Center for Creative Photography and Phoenix Art Museum. Exhibition sponsored by Snell & Wilmer.

Image credits top to bottom: Patrick Nagatani and Andrée Tracey, Indian Summer, Nuclear Winter, 1986 Polaroid print Center for Creative Photography: University of Arizona: Purchase © Patrick Nagatani Photographer unknown, untitled, 1865-1930 Tintype Center for Creative Photography: University of Arizona: Gift of Alfred D. Chandler III Thomas F. Barrow, Glass Studies, 1977-1978 Gelatin silver print Center for Creative Photography: University of Arizona: Purchase © Thomas Barrow Andy Warhol, Emily Landau, 1981 Polaroid print Center for Creative Photography: University of Arizona: Gift of The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts, Inc.

EXHIBITION

We are what you see. Good people doing good work has always been the key to our companyâ&#x20AC;&#x2122;s success. That includes the way we value and interact with our fellow colleagues and insurance professionals â&#x20AC;&#x201D; as well as the relationships we build in the communities we serve.

Proud 2015 Exhibition Sponsor

Phoenix Art Museum From our home office to our agents in the field, we are hard-working, knowledgeable, and loyal professionals who work to serve our clients and meet their specific needs. We support everyone in our company at every level, and reward their successes.

JOIN THE CIRCLE FOR YOU, YOUR FAMILY, YOUR COMMUNITY.

HELP SUSTAIN AND GROW MESA ARTS CENTER’S EDUCATION, OUTREACH AND ACCESS PROGRAMS. Get on the inside track to take advantage of special offers on the hundreds of shows, classes, and events at Mesa Arts Center. Be the first to order show tickets and attend special openings for exhibitions at Mesa Contemporary Arts Museum. Receive special benefits, from behind-the-scenes tours to discounts on unique, hand-crafted art at The Store—an Artists Cooperative Gallery.

...I LOVE IT, SUPPORT IT, AND KNOW THAT WHEN I'M AT THE DIRECTOR'S CIRCLE LEVEL, I CAN ALWAYS BE GUARANTEED GREAT SEATS, EVEN WHEN I HAVE TO DECIDE ON EVENTS AT THE LAST MINUTE. Joanie Flatt B EST LI VE M U SI C VENU E

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Pattern Play: The Contemporary Designs of Jacqueline Groag Ellman Fashion Gallery April 4 – August 9

Sensing a Pattern The colorful, lively works of designer Jacqueline Groag appeal to the senses In the years following the heavy, dark trauma and loss endured in World War II, a renewed appetite for brilliant color and lively patterns swept across Europe and post-war America. Responding to the burgeoning freedom of the period, European and American designers embraced dynamic and stimulating patterns inspired by art, science and everyday life. Textile designer Jacqueline Groag was one of the most successful and versatile designers of the period, whose imagination and creativity imbued new life into colorful, playful, and inventive work, ranging from the abstract to the representation, and defined the popular, contemporary style of post-war fashion in Britain. In Pattern Play: Contemporary Designs of Jacqueline Groag, the designer’s vibrant, child-like visions fill Ellman Gallery with her bold designs used in furnishings, dress fabrics, laminates and other decorative surfaces, as well as her original works on paper. Pattern Play: The Contemporary Designs of Jacqueline Groag is organized by Denver Art Museum. Support provided by The Arizona Costume Institute.

EXHIBITION

Jacqueline Groag, (Czech-born, 1903-1985) Dress, 1940s. Printed cotton. Lent by Jill A. Wiltse and H. Kirk Brown III. Photo by Ken Howie.

Pattern Play: Student Salon April 11 | 10:30 - Noon

Join Dennita Sewell, curator of fashion design; Jill A. Wiltse and H. Kirk Brown III, collectors; and Shaunna Shelby, curator for the Jill A. Wiltse and H. Kirk Brown Collection, as they lead an in-depth discussion of designer Jacqueline Groag’s childlike vision and finely tuned sense of color through the objects in the exhibition and her original drawings and sketches in this student salon. Participation is limited to high school and college-level students and instructors. Certificates of participation will be provided at the conclusion of the salon. Admission is free, but advanced registration is required. To RSVP contact education@phxart.org. For additional info, contact casey.hagarty@phxart.org.

As very proud supporters of Phoenix Art Museum, we welcome with great enthusiasm the leadership of

AMADA CRUZ â&#x20AC;&#x201C; Ellen and Howard Katz

From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection Steele Gallery June 5 to September 7

Coming Soon Mark your calendars for this exciting summertime blockbuster featuring a selection of exciting work from some of the most acclaimed American artists of the 20th century, drawn from the Vilcek Foundation in New York. Make the journey from New York to the Southwest, with more than 60 works of art by vanguards of early 20th century American art, including Alexander Archipenko, Oscar Bluemner, Stuart Davis, Arthur Dove, Marsden Hartley, Georgia O’Keeffe, John Storrs, Helen Torr, Max Weber and many more. Explore themes ranging from the transcendental power of nature through the artists of the Stieglitz Circle, art inspired by urban and rural architecture, and the American Southwest as a spiritual oasis from the industrialized east. Ranging from the early 1900s, these artists captured a defining moment in the development of the American art experience, with a continuing influence on artists working today.

MARK YOUR CALENDARS: AMERICAN MODERNISM UP CLOSE

From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection is organized by The Philbrook Museum of Art, Tulsa, Oklahoma in cooperation with the Vileck Foudation. Generous support has been provided by UMB Bank and The Women’s Metropolitan Arts Council.

Members with the exclusive Insider package are invited an in-depth discussion led by Dr. Jerry N. Smith, Curator of American and European Art to 1950 and Art of the American West.

Save the date for these exciting events exclusive to Museum Members.

MEMBERS PREVIEW DAY June 6 | 10 am—5 pm Join us for an exclusive preview of the exhibition before it opens to the public. Look for your invitation in the mail.

CONVERSATION WITH A CURATOR June 6 | 5:30 pm

UPPER-LEVEL MEMBERS’ RECEPTION June 6 | 6-8 pm Upper-Level Members are invited to an exclusive reception with complimentary hors d’oeuvres, live music, and a cash bar.

Right hand page: Marsden Hartley, Provincetown,1916 Oil on canvas board

EXHIBITION

Why I Give

“Phoenix Art Museum is a world-class treasure in our cultural landscape.”” – Hope B. Levin, President, Johnson Bank

Supporting Phoenix Art Museum Since 2014 “A friend of the arts, Johnson Bank has always held to the ideal of making the communities it serves a better place to live and work. In addition to my previous involvement as the Treasurer of the Contemporary Forum, the arts have been a long-time passion of the Johnson Family, who opened the first bank in Arizona 25 years ago and have generously supported a broad range of arts programs. Phoenix Art Museum is a world-class treasure in our cultural landscape. Visitors and residents alike enjoy and benefit from its collection, while being amazing by the visiting exhibitions. We are so grateful to the talented curators for bringing art and culture to Phoenix.”

WHY I GIVE

Experience the Old West, the New West & the Next West

“Phoenix has been fortunate to have an arts leader as dedicated and passionate as Jim Ballinger all of these years. Best wishes from your friends at Desert Caballeros Western Museum!”

A r i z o n a ’s M o s t W e s t e r n M u s e u m

21 N. Frontier St. • Wickenburg, AZ 85390 • 928.684.2272 • westernmuseum.org

Hidden Histories in Latin American Art May 9—August 23, 2015

Hidden Histories Hidden Histories in Latin American Art investigates the means by which some Latin American and Latino artists spotlight stories or histories marginalized by the media. Historically, many artists have sought to expose parallel truths existing outside of the mainstream. The artists in this exhibition explore neglected yet pressing histories, such as the violence against women in Ciudad Juárez, Mexico; the marginalization of indigenous communities in Guatemala; and the fate of civilians “disappeared” by military and paramilitary groups in Colombia. The included works allude to politics, though they touch upon different historical moments in diverse regions of Latin America as well as the special circumstances confronting Latinos living in the United States. Each story is different, but what unites them is the means by which they are told: through intentional processes of veiling and fragmentation. These artists engage with a kind of storytelling in which the part stands in for the whole. They also endow everyday objects with potent symbolism. In this way, a dress, a felt blanket, a wooden barricade, a wardrobe, and even part of an urban glass wall become vehicles for exploring larger histories, made present before the viewer but only partially revealed. Hidden Histories includes works by Luis González Palma (Guatemala, born 1957), Annie Lopez (US, 1958), Teresa Margolles (Mexico, 1963), Graciela Sacco (Argentina, 1956), and Doris Salcedo (Colombia, 1958). The exhibition features works from the Phoenix Art Museum’s permanent collection as well as loans from private collections. Exhibition organized by Phoenix Art Museum.

EXHIBITION

Teresa Margolles, La búsqueda (The Search), 2014 Multi-media installation with sound component Gift of Diane and Bruce Halle photo by Stefan Altenburger

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April | Dallas My first stop was the Dallas Museum of Art. The DMA has taken an aggressive approach to developing audience by offering free admission along with gathering copious data on who visits, when and why. The Museum has a Center for Creative Connections, a hands-on space that attracts visitors of all ages. Consider This. Gathering data about how often people visit, if they attend an event, and what they look at identifies trends…. but also may present challenges to privacy. And how do you capture data when free admission means no need to stop at a front desk? Favorite Artwork: Lady Godiva, by Anne Whitney, 1862-64. I never before really thought about there being an actual Lady Godiva. Surprises: 1) An exhibition of works created by students in Advance Placement Studio Art, Art History, and Music Theory. 2) Happening upon a yoga class in the center gallery of the nearby Crow Collection of Asian Art.

Travel Diary Education Director and Piper Fellow Kathryn Blake explored museums across the U.S. and Great Britain to get inspired 2014 brought me a singular opportunity: eight weeks of travel to art museums in the US and the UK as a Piper Fellow. The Virginia G. Piper Charitable Trust awards fellowships to senior staff in local non-profit organizations with the purpose of providing time and intellectual space to study, travel, and think differently about our work and institutions. This kind of sabbatical is almost unheard-of in the museum industry; I was the envy of the colleagues I met in my travels. Every Piper Fellow has found the experience personally and professionally transformative. I am no different. As the Museum’s Gerry Grout Education Director, my research interest naturally lodged in understanding how museums relate to or “engage” their audiences. As a member of the Senior Management team, I also wanted to investigate changing organizational structures in museums. Each site I visited raised new questions for consideration. Each conversation provided new insights into a field that must continually evolve to remain relevant. Let me take you with me on a whirlwind recap of an amazing eight weeks...

MUSEUM INSIDER: EDUCATION

May | Seattle I went to Seattle for the American Alliance of Museums Annual Conference. With more than 5,000 museum professionals in attendance, this is the place to take the pulse of the museum world, to see both innovation and struggle. Consider This: With a theme of innovation, the conference addressed repeatedly the changing roles of museums through sessions about integrating visitor response into exhibitions; challenging traditional organizational structures and ways of working; and mentoring mid-level staff. Favorite Artwork: The Asian Art Museum building itself Surprises: 1) The Seattle downtown library has a great art collection! 2) I managed to eat an oyster. There’s synergy between eating out and visiting a museum: sometimes you need to try something you don’t like the looks of, just for variety and to expand your experience! May | Northern California After a week in Seattle, I spent another week in the Bay area – Oakland, Sacramento, San Jose, Santa Cruz. The museums I visited are comparable to or smaller than Phoenix Art Museum, but are experimenting with ways to relate to their communities. Consider This: What does an “audience-centric” museum look like? What does it mean when there are people at a courtyard program, but no one in the galleries? How can we address changing funding models when young people think about philanthropy differently than older generations? Favorite artwork: The interactive elements in the Oakland Museum of California, specifically in the History and Natural Science collection areas, and the Vinyl: The Sound and Culture of Records and SuperAwesome: Art and Giant Robot exhibitions. Surprises: 1) Great signage and bike repair stations on the pier of the Exploratorium in San Francisco. I love when museums pay attention to the details! 2) Every museum has its unique challenges when it comes to fundraising. No one “has it easy.”

THANK YOU

FOR GIVING US N E W W AY S T O

S E E O U R WORLD

Blue Cross Blue Shield of Arizona proudly supports the Phoenix Art Museum for enriching our lives by sharing creative expressions from around the world. We celebrate Jim Ballinger for his 40 years of visionary leadership that has helped make Arizona the premier art destination in the Southwest.

MUSEUM INSIDER: EDUCATION

May | San Diego and LA Into my third consecutive week away from the office, I felt a little disconnected. This is a key message of the fellowship: at a certain point in a career, we need to disconnect to reconnect. In San Diego, I visited Balboa Park’s collaborative consortium of museums and met a colleague at San Diego Museum of Art, perhaps the most comparable to Phoenix Art Museum in scale and collection among my stops. Finally, I visited the Hammer Museum at UCLA to learn about its artistintegrated programming. Consider This: I gained insight into collaborative teaching methods bringing together scientists, artists, and the general public to address social issues like water use or transportation. This informed my thinking about our interpretation of Leonardo’s Codex Leicester. Other conversations sensitized me to the need for mentoring for mid-level and junior staff; it is an important investment to retain the best and brightest in our institutions. Favorite moment: Watching visitors in museum courtyards at Balboa Park and at the Hammer. Surprises: 1) The Timken Museum. This small, jewel-like gallery was the busiest. I overheard great conversations in this bite-size experience. 2) SDMA has been paying attention to ADA standards in its gallery re-design, which make things more comfortable for all visitors. September | Cleveland & Minneapolis I had a summer back in the office, working with new staff. In September, I began my most intense schedule of travel. Cleveland Museum of Art launched a significant technology initiative in the last two years; I wanted to see it in action. Then on to the Minneapolis Institute of Arts to learn how the staff has been re-organized to put the audience and the need to convey relevance center-stage. Consider This: Successfully integrating technology into an art museum requires significant financial and human resources, as well as collaboration. The result must be infinitely sustainable and adaptable. Favorite sites: 1) The across-the-pond view of the CMA and its lovely sight-lines inside the building. 2) The coffee bar-lounge area at MIA. I could spend the whole day at the museum with its lounge to decompress, read, snack, have a meeting, re-charge. Surprises: The MIA had News Flashes temporarily posted near several artworks. These postings draw attention to connections between current events and historic artworks.

MUSEUM INSIDER: EDUCATION

September | London and Manchester Britain has been at the forefront of museum education for years. I was happy to meet up again with colleagues from the Tate and the Victoria & Albert museums that I had first met at a conference in Taipei. I also made new connections in interpretation and exhibition management at the V&A, and in education at the Manchester Art Gallery and the National Gallery of Art, London. Consider This: In Britain, artists are deeply integrated with education activities, for art of all eras. They mine the collections for inspiration and study, and collaborate in creating educational resources. Residencies for artists in diverse disciplines and media (game design included!) further a mission of supporting Britain’s creative industries. Favorite Moments: Manchester Art Gallery has a spectacular collection of PreRaphaelite paintings. They also integrate contemporary artworks amongst their historical works. Surprises: 1) An empty room at the National Gallery. I loved seeing the hanging chains against the wall and imagining what artworks usually hang there. 2) Manchester is re-invigorating itself as a business and cultural center. I saw contemporary Asian art installed in the Cathedral for a city-wide event, found a canal system and Roman ruins, and an amazing manuscript collection at John Rylands Library. October | Orcas Island The Piper Fellowship required me to take a period of personal reflection separate from travel or study. I disappeared to Orcas Island off the coast of Washington. This was a time to process what I’d learned, to clear my mind, and make plans for implementing new ideas in my work. No TV, no wi-fi, just great hiking and harbor seals. I spent time thinking about how looking at art in a museum affects our life outside the museum. What qualities of observation, empathy, inspiration, and imagination can we help to develop? In this Fellowship year, I discovered great work going on in museums, including our own. Much of this work seeks to find meaningful and innovative ways to connect with a changing demographic. Our Education Division participates fully in this quest to keep our audience at the center of our practice, our work fresh and content relevant. We are already implementing many key findings of my fellowship travel. Our new series of gallery guides called I’m Here is one example of using data, a collaborative working method, and research to create public resources that have enjoyed tremendous popularity. On behalf of the Museum, I extend my sincere thanks to the Virginia G. Piper Charitable Trust for its commitment to strengthening cultural and social service agencies in the Valley through the Piper Fellowship. More to come!

Congratulations to a Community Treasure Thank you Jim for 40 years of extraordinary vision, leadership and commitment to the Phoenix communityâ&#x20AC;&#x201D; both within and beyond the arts community. Congratulations on a career which has contributed so significantly to quality of life in Phoenix arts, economics and culture. With love and admiration, Susan and Bill Levine

MUSEUM INSIDER: FASHION

Fashion forward Fashion curator Dennita Sewell discuss the defining moments of a collection and a career For Dennita Sewell, who has spent more than 15 years as the curator of fashion design at Phoenix Art Museum, working to grow and expand the Museum’s extensive fashion collection has been a labor of love and determination. She sat down with us to talk about the moments that have defined both her time with the Museum, and the fashion design collection.

Q: What would you say have been some of the most defining moments in the history of fashion at Phoenix Art Museum?

A: I would say it happened in 1966, when the fashion collection was first founded. In the 1960s, it was right time for the collection’s enthusiastic founders to gather many important works that formed the nucleus of the collection. From Schiaparelli to Charles James, works representing the significant designers along with important historical works began to form the nucleus of the collection in those early days. Today, the fashion collection has grown to more than 5,000 objects, nearly a quarter of the Museum’s total permanent collection. This would never have been possible without another defining moment: fifty years ago the Arizona Costume Institute was established, to support the work of the Museum in this area. Their support, along with the longstanding tenure of the collection’s first curator, Jean Hildreth, enabled the collection to grow as it has.

MUSEUM INSIDER: FASHION

Q: Fifty years of Arizona Costume Institute is an exciting milestone. What can visitors look forward to in celebration of ACI?

A: We’re already hard at work to begin planning celebrations for the 50th

anniversary, which occurs in 2016. As we begin to reflect on the history of the collection and of ACI, we are first focusing on gathering photographs and stories about our history, looking at ways the collection was formed. On March 4, through a partnership with The Arizona Republic, we’ll host a collaborative fashion-themed event featuring local storytellers. And that’s just the beginning.

Q: What can visitors expect in the next year at the Museum? A: This is an exciting time for the Museum, as we can announce the acquisition

of the Emphatics archive, a rare collection of avant-garde contemporary fashions collected by James and Karin Legato. The Legatos spent decades building and curating Emphatics, one of the country’s premier designer retailers, located in Pittsburgh, Pennsylvania. After 50 years, they closed their store, and made the decision to preserve their legacy by offering their extensive collection to Phoenix Art Museum for purchase. A group of dedicated, truly generous patrons came together to support this landmark acquisition; it is unlike any we have received in the history of the collection. The Emphatics archive is unique in that it includes more than 400 fashions and accessories by designers such as Alexander McQueen, Issey Miyake, Thierry Mugler, John Galliano, Christian Lacroix and Jean Paul Gaultier. It also includes rare photography and videos from fashion shows, as well as original runway show invitiations and other ephemera from the time. I’ve never seen anything like it. It places the designers and their work in a larger creative context, representing a fuller picture of the works of 80s and 90s designers, a truly fertile period in fashion.

Q: As you reflect on that history, what moments stand out most in your own time at the Museum thus far? What are the moments that most define your experience here?

A: I would have to say working on the Ann Bonfoey Taylor donation and Fashion

Independent exhibition was such an exciting opportunity for me and for the Museum. The experience of going to the Taylor home to select the pieces was something I will never forget. Through that exhibition, Mrs. Taylor’s independent spirit and gracious sense of style became an inspiration to many. One of the most fun shows was the Motorcycle Jacket exhibition. At the opening reception, so many unique motorcycles of all types and brands were driven in by all sorts of riders. We had four really cool motorcycles in the exhibition itself and many designers participated by lending pieces. One of the most important was a loan from Chanel’s archives that had been used in a landmark photo shoot in the 1990s for Vogue magazine.

Q: As we reflect on where we have come, at the precipice of where we will go next, one of the biggest points of transition in the Museum’s story is the retirement of Jim Ballinger, the Museum’s longtime director. As someone who has had the chance to work alongside him for more than ten years, what will you carry with you? What would you say have been some of the most defining moments of his leadership?

A: I have been very lucky that Jim always “gets” me as a creative, always giving

me the opportunities to create all kinds of exhibitions and programs in my time here. I’ll admit, some of the ideas I’ve had may have seemed kind of “out there,” but Jim always believed in the positive results that could come from taking a chance. I have always appreciated it. In our time working together, he often told me that he learned a lot about fashion from me. It’s a mutual experience, because I know I have learned so much about being a museum professional from him.

Q: The fashion collection at Phoenix Art Museum continues to expand, incorporating contemporary fashions along with historical, period pieces. Why is this important to our community? Why does it matter to the life of the Museum?

A: The Museum’s fashion design collection has a real impact on the community

as an educational resource. Over the years, the consistent activity of exhibitions and programs has garnered an international reputation for the collection and our exhibitions. This has helped us continue to build the collection and our relationships with the fashion houses and secure more and more interesting pieces for the exhibitions and more outstanding speakers to visit the Museum. Fashion has become popular in museum’s across the country as exhibitions begin to focus on contemporary designers, many of whom dress celebrities and have become celebrities in their own right. The Alexander McQueen exhibition was a landmark for The Metropolitan Museum of Art and ignited the popularity of fashion causing many art museums to enter the playing field both for one off shows and for some to revitalize their own fashion departments. Phoenix Art Museum has been on the forefront of recognizing fashion as art for nearly 50 years, and that’s exciting for our community to be a part of. But more than this, fashion means something to everyone. It touches on the zeitgeist of the time, captures the mood and the spirit of a generation, and can also transport the viewer back in time. Because fashion is an accessible medium (after all, we all wear clothes) there is a personal element that is an integral part of the story beyond just the elements of style and design. I believe that we all wear clothes and the more we understand about the history of dress and our contemporary choices, the better decisions we are able to make. It’s always changing, always evolving. It can be a lifelong passion, with never a dull a moment.

Jeanne Lanvin, Ivory satin spencer wedding jacket with long ruched train, c. 1931 Silk satin Collection of Phoenix Art Museum, Gift of Mrs. Henry Bemis

MUSEUM INSIDER: FASHION

3 | Mariano Fortuny, Delphos Dress, 1920s. In spite of

Defining Art: The Top 5 Works That Define Fashion at Phoenix Art Museum Curators usually get a little nervous (and a bit evasive) when you ask them about their favorite anything. Working with a wide range of diverse objects every day, most of the time their favorite artworks change from one hour to the next. Instead, we asked Dennita Sewell to reflect on the top 5 objects from the collection that best define fashion at Phoenix Art Museum.

1 | Court Gown, European, c. 1760. It was so important that early historical works were secured when the collection first began. Works like this 18th-century court dress are almost impossible to find today, even among top dealers and auction houses. Even if they can be located now, they require a significant investment to purchase. Some countries, like Britain, now have rules in place that give their own national institutions the first right to raise funds to purchase, prohibiting important, historical works from leaving the country. That we have pieces like this now depended on the foresight of those who first established the collection in the 1960s. Court Gown, European, c. 1760. Silver tissue woven with multi-colored foil flowers and trimmed with gold lace. Gift of Mrs. Donald D. Harrington, in memory of Sally Harrington Goldwater.

2 | Charles Frederick Worth gown, 1885. It was quite a hunt to find this Charles Frederick Worth gown. ACI wanted to purchase a work in memory of Jean Hildreth, the collection’s founding curator. Jean was so admired that I wanted to find something that I thought she would really love, and something significant for the collection. At the time, we didn’t have a piece by Worth, a 19th-century designer known as the father of haute couture. When I finally found this object, I knew it was perfect, and that Jean would have loved it. She was so interested in the historical aspect of the collection. Charles Frederick Worth, Evening Dress, 1885. Silk brocade, silk satin, cotton lace. Gift in memory of Jean Hildreth from her friends, family, and Arizona Costume Institute.

MUSEUM INSIDER: FASHION

fashion’s trends, Fortuny is a designer that has timeless appeal across all ranges and tastes. The secret of how he created his beautiful and artistic pleating has long fascinated both scholars and observers. This piece came to the Museum from someone in the community who made a cold-call. Jean Hildreth was the curator at the time, and took the call. Soon after, the donors drove up from Tucson with this piece and the rest is history. Mariano Fortuny, Delphos Dress, 1920s. Silk. Gift of Mrs. Ernest E. Leavitt. Mariano Fortuny, Jacket, 1934. Silk velvet stenciled with metals. Gift of Mrs. Anne Robinson.

4 | Charles James, Ballgown with Short Fitted Jacket, 1949. When I received the call from Mr. Vernon Taylor about a donation of clothing from his mother’s wardrobe, I never imagined that it would turn out to be a gift that would later be named one of the Top 100 gifts of any type given to a museum in 2008. When I first visited the family’s home outside of Denver to look at the offered pieces that once belonged to Ann Bonfoey Taylor, I opened the first drawer and saw this signature Charles James ballgown. I knew it was going to be transformational to the collection. Charles James, Ball Gown with Short Fitted Jacket, 1949. Silk satin. Gift of Mr. Vernon Taylor, Jr. and Family.

5 | Alexander McQueen, Dress, 2010. Since I arrived at the Museum in 2000, I placed an emphasis on collecting contemporary works. The historical works had become so rare and expensive, and the most popular exhibitions encompassed contemporary pieces. The Alexander McQueen exhibition at the Metropolitan Museum of Art caused the popularity of fashion in art museums to skyrocket. I was thrilled when the collection’s patron Tatiana Sorrokko encouraged her friends to donate significant contemporary works to the Museum. This very special piece from McQueen’s last collection was a generous donation by one Sorrokko’s friend Suzy Kellems Dominik. Alexander McQueen, Dress, 2010. Silk. Gift of Ms. Suzy Kellems Dominik in honor of the exhibition Extending the Runway: Tatiana Sorroko Style.

MUSEUM INSIDER: FASHION

Arizona Costume Institute

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SUPPORT FASHION NEVER GOES OUT OF STYLE. Arizona Costume Institute was founded in 1966 to support Phoenix Art Museumâ&#x20AC;&#x2122;s Fashion Design Department in the acquisition and preservation of garments and accessories of historical and aesthetic significance. The organization hosts educational programs, exhibition openings and fundraisers in an effort to raise awareness about the fashion design collection. With over 300 members, the organization features a dynamic group of fashion enthusiasts whose interests range from professional networking to fashion history. Whether you are new to the Valley, a student or a longtime member of the Museum , now is a great time to join ACI and experience all of the unique opportunities we have to offer.

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Arizona Costume Institute is pleased to announce its participation in helping the Museum acquire a major collection of contemporary fashions and accessories from James and Karin Legato, owners of the Emphatics Archive. This exciting collection of avant-garde designs features works by Alexander McQueen, Issey Miyake, Thierry Mugler, John Galliano, Romeo Gigli, Christian Lacroix, Alaia, and Jean Paul Gaultier among others. The ACI membership would like to thank Jim Ballinger for his continued support and enthusiasm for Arizona Costume Institute throughout the years. We also extend a warm welcome to Amada Cruz and look forward to exciting projects to come.

arizonacostumeinstitute.com | 602.307.2011

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Thierry Mugler, Dress, Fall 1984 Wool jersey and gold lamĂŠ

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Sponsored by Mrs. Lee T. Hanley

Claude Monet, Les arceaux fleuris, Giverny (Flowering Arches, Giverny), 1913 Oil on canvas Collection of Phoenix Art Museum, Gift of Mr. and Mrs. Donald D. Harrington

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UMB is proud to support the pARTy and congratulates Ann Siner and her commitee on a wonderful event Enthusiasm for the expansion and appreciation of the arts radiates throughout our organization, and that passion continues right here in the Arizona community.

We proudly support the Phoenix Art Museum

Member FDIC

On risks and rewards Photography curator Rebecca Senf talks about books, selfies, and the value of taking risk Photography curator Rebecca Senf, Ph.D., divides her time between Phoenix Art Museum and the Center for Creative Photography in Tucson. Through the extensive archives of the Center for Creative Photography., Dr. Senf crafts exhibitions and programs that illuminate photography for the community. She sat down with us to discuss the future of photography at Phoenix Art Museum, and the defining moments that brought us where we are today.

Q: What would you say has been the theme of the last year? A: For me, 2014 was the year of the book. We had two book-related exhibitions,

The Process and the Page, and the INFOCUS Juried Exhibition of Self-Published Photobooks. There is such momentum in the field of photobooks that the experience was incredibly energizing.

Q: In November, you celebrated the opening of an exhibition of platinum photography. What made that experience special?

A: I’m incredibly proud of the platinum exhibition, All That Glitters is Not Gold:

Platinum Photography from the Center for Creative Photography. It was the culmination of two-and-a-half years’ work, and—as with all exhibitions—was a collaborative effort. It’s a pleasure to bring to fruition a project that so many people have built. When we first began our work, drawing from the Center’s archives, I discovered that while the Center’s collection of platinum and palladium photography was rich and deep, but there were significant holes. Those holes meant that the exhibition would offer an inaccurate picture of the ongoing interest and work being done in the platinum process. Then a donor offered a generous gift, specifically to acquire works to complement the exhibition. Because of our donor’s generosity, we were able to fill those gaps, with the purchase of nine contemporary platinum photographs, all of which were included in the exhibition. Along with those nine works, additional donors provided an additional twenty-one prints by six acclaimed artists, most of which appeared in the exhibition as well. This kind of generosity and support by donors in our community has an impact that reaches far beyond a single exhibition. These gifts enrich the Center’s collection for future generations who will study the medium and its history. They become a legacy for our entire community. Without these kinds of gifts, we could not do the work we do.

MUSEUM INSIDER: PHOTOGRAPHY

Q: As you look forward to what’s to come, where do you hope to see photography at Phoenix Art Museum expand in the next year?

A: I’m really proud of the exhibitions and programs that Phoenix Art Museum is

able to offer through its collaboration with the CCP and through the financial and logistical support of the Museum’s photography support organization INFOCUS. As we move forward with the work we do, I want to focus on expanding awareness of photography at the Museum, both for Valley residents and those who visit the Museum during their travels. We present so many great opportunities to delve deeper into photography through lectures, workshops and studio visits, and also to meet other like-minded people, that I’d love to bring new faces into our events.

Q: As you look back over your time as a curator and a historian of photography, how has photography evolved and how does it impact your work? What will photography become in the age of the #selfie?

A: Well, certainly, the ubiquity of cameras is new. We’ve been surrounded by

photographic images for quite some time, but now nearly everyone has a powerful digital camera with them everywhere they go. The near-constant creation and sharing of personal images is a powerful shift in photography and I think it creates new and unique opportunities for the Museum. Already we have had a few exhibitions that invited participation by our community; Iconic Arizona in 2012, celebrating the state’s centennial, included community photographs presented on a touch screen, and in 2014 we had the juried exhibition of photographic books. I expect to have more programs and exhibitions that engage our audience as photographic creators as well as viewers. As more and more of the public participates in making photographic images, I think the interest in history’s great image-makers should only expand. As we all attempt to make images that express ourselves, convey emotions, and record complex ideas, looking to past photographers will inform us and enrich our comprehension of photography’s great potential.

The exhibitions in 2015 will offer great opportunities for both first-time and seasoned visitors to explore photography. In April, we’ll open an exhibition called One-of-aKind: Unique Photographic Objects from the Center for Creative Photography. Often we think of photography as a medium of multiples in which a negative or a digital capture can be reproduced in many copies. Beginning in the 19th-century, however, we see examples of photographs that exist in a single print – that are a unique object unlike any other. This exhibition pulls together examples to explore when and why artists chose to make a one-of-a-kind photograph. In December we will debut an exhibition of photographic still life to complement the Steele Gallery exhibition Inventing American Still Life, 1800-1950. Drawing on the rich resources at the Center for Creative Photography, we will explore photography’s contribution to the still life genre, including Ansel Adams, Edward Weston, Josef Sudek, Arthur Tress, Jo Ann Callis and Jan Groover.

MUSEUM INSIDER: PHOTOGRAPHY

Q: In 2015, you’ll celebrate your 8th year with the Museum. As you reflect on your time here, what are the experiences that have defined you as a curator?

A: Early in my time at Phoenix Art Museum I curated an exhibition

of works by photographer Barbara Bosworth. She is based in Massachusetts and, at the time, her work was not well known in the American Southwest. I felt deeply about the power and meaning of Barbara’s work, which is why I chose to exhibit it, but as a curator you never know if the museum visitors see the work the way you do. When Barbara came to Phoenix to do a gallery tour for the Museum’s audience, it was so moving to see our visitors speak to her. Some of them had been to the show three times already, all because they were so impacted by the power of Barbara’s photographs. At that moment, I realized that it was possible to create an environment in the Museum that allowed people to have a deep connection to a work of art. Since that experience, I strive to create exhibitions that invite people to a place where they can slow down, look closely, and be open to the possibility of having a meaningful and moving experience with an artwork.

MUSEUM INSIDER: PHOTOGRAPHY

I think one of the times I felt that most keenly was in 2010. I created a special exhibition for Phoenix Art Museum’s Steele Gallery called Ansel Adams: Discoveries. That exhibition, which drew from the Ansel Adams Archive at the Center for Creative Photography allowed me to share my deep knowledge of Ansel Adams’s career and his passions and motivations. The show was on view early in the economic downturn and the galleries, filled with serene and awe-inspiring pictures of the natural world, created a calm sanctuary separate from the harsh realities with which so many of us were struggling. The response to the exhibition was phenomenal: more than 100,000 people came to see the show and the comments we received about our audience’s connection to the photography and their new deeper understanding of Ansel Adams were incredibly gratifying. It was an intense and challenging process to create such a large show, and it was a powerful learning experience for me, but I was really glad to have produced something that I felt made an impact for the Museum and for the public during a troubled time in our shared history.

Q: As we reflect on the years behind us and how those moments have influenced the work we do now and will do in the future, it calls to mind one major moment of transition: the recent retirement of the Museum’s longtime director, Jim Ballinger. Having worked with him over the last few years, what will you miss most about his friendship and leadership? What are the lessons he taught that you will never forget?

A: One of the things I liked best about talking with Jim is that he loves art and was

always game to discuss artists, artworks and ideas about art. This may seem like a given – that an art museum director would like to talk about art – but it’s not always the case. One of the many things I appreciated about him as a leader (and attempt to emulate) is his accessibility. After forty years, he remained accessible to donors, Museum Members, colleagues from around the country, the community, artists of all kinds, and his staff – in seemingly equal measure. His door was literally open to those who wanted to meet with him and he was respectful and responsive to those who needed his time and attention. I don’t know how he managed to make time, to always pay attention and be in the moment with all those people who wanted to talk to him, but I try to be as available to others as he has been to me. The truth is, Jim has been a wonderful boss, mentor and role model. I remember on my very first day of work at the Museum, he said to me, “When it comes to exhibitions, you’ll have some hits and you’ll have some misses.” It made such a huge impression on me to have him begin my career here by encouraging me to take risks, while acknowledging that not all risks result in success. That freedom to fail in the pursuit of something great, has given me the courage to be more experimental. I have unquestionably learned more from my curatorial experience because of the new ideas I’ve explored, without the fear of harsh criticism. Learning to take risks and to embrace failure has made me a better curator and is one of the lasting legacies of working for Jim Ballinger.

Above left: Barbara Bosworth. Christmas Solar Eclipse in My Father’s Hands, Sanibel, 2000. Gelatin silver print. © Barbara Bosworth Above right: Alejandro Cartagena. CarPoolers, 2014.

DEFINING ART: THE TOP 5 PHOTOBOOKS OF 2014 Curators usually get a little nervous (and a lot evasive) when you ask them about their favorite anything. Working with a wide range of diverse objects every day, most of the time their favorite artworks change from one hour to the next. Instead, we asked Dr. Senf to reflect on her five favorite photobooks of 2014. 1. Phillip Toledano’s The Reluctant Father (Dewi Lewis) 2. Alejandro Cartegena’s Carpoolers (Self-Published) 3. Alex Webb and Rebecca Norris Webb’s On Street Photography and the Poetic Image (Aperture) 4. Darius D. Himes and Mary Virginia Swanson’s Publish Your Photography Book: Revised and Updated (Princeton Architectural Press) 5. Brenda Biondo’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975 (University Press of New England)

MUSEUM INSIDER: PHOTOGRAPHY

Asian Arts Council WHERE TRADITION MEETS TODAY. At the intersection of old and new, east and west, comes the timeless tradition of Asian Arts Council, dedicated to bringing internationally recognized artists and historically significant works of art to our audiences. With a long history of playing a key role in some of the most defining moments of the Museumâ&#x20AC;&#x2122;s history, we have supported exhibitions of Asian art for decades. From screens and armor to paintings and sculpture, we help bring the history and meaning of these treasured works of art to life, enriched by lectures, gallery talks, films, preview receptions and so much more. As a support organization, we make a direct impact on the lives of all visitors; young and old, by opening up a world of compelling art and meaningful history.

asianartscouncil.org | 602.307.2028

Righthand page: Unknown, China, Chrysanthemum bowl with bats, 18th century Spinach-green Nephrite jade with small black inclusions Collection of Phoenix Art Museum, Museum purchase with funds provided by Asian Arts Council in honor of Marilyn and Roy Papp in recognition of their many years of contributions to Asian Art at the Museum.

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Over the past six years, the Asian Collection has developed a significant holding of Chinese jade objects ranging in date from the Neolithic era to the 19th century. These have come to us primarily through gifts from Dr. Phillip H. & Anne S. Lewis, Harold Stack, and Pari & Peter Banko. In honor of the 50th Anniversary, the Museum’s Asian Arts Council purchased a lovely double Magnolia vase. Jade is the most valued precious stone in Chinese culture, and its importance in Chinese art cannot be underestimated. From earliest times, jade objects were included in burials of upper-class members of Chinese society. Jade was believed to have protective powers, including the power to bestow immortality on the deceased. The most famous examples are 2000-year-old jade burial suits, which encased the body in garments made of tiny squares of jade sewn together with metal wire, in an attempt to preserv. the corpse for the afterlife. Confucius, in the 5th century BC, offered insights into the virtues for which jade was seen to be symbolic. “Smooth and glossy, like benevolence. fine, compact and strong, like intelligence; angular, but not sharp and cutting, like righteousness; when struck, yielding a note clear and prolonged, like music; bright as a rainbow, like heaven…” This year, the Asian Arts Council chose once again to acquire a work of jade to add to our collection. This bowl of translucent green jade with emblems of celebration and happiness would have been used during a wedding. As part of their vows, the bride and groom each drink from this vessel, symbolizing their union. During the 18th century, Chinese artisans were influences by Indian Mughal techniques, such as the thin delicacy of this piece. But the symbolism is purely Chinese. The bowl is in the form of a chrysanthemum, symbolic of longevity and wealth. The two handles are in form of bats, representing bianfu, or double happiness, a common motif on wedding gifts.

The Asian Arts Council Board voted unanimously to dedicate this work of jade in honor of Marilyn and Roy Papp in recognition of their many years of contributions to Asian Art at Phoenix Art Museum. Both served as Trustees and as Founding Members of the Asian Arts Council and its Presidents, and Marilyn is a Master Docent. Their collection of 180 classical Chinese paintings have been organized and exhibited by Phoenix Art Museum numerous times at many venues in several countries. Most recently Hidden Meanings of Love and Death in Chinese Painting: Selections from the Marilyn and Roy Papp Collection was offered at Phoenix Art Museum in Spring 2013. It will travel to San Antonio in Fall 2015. The publication was underwritten by our Museum’s Asian Arts Council. Sadly, Roy Papp passed away in December 2011 and did not live to see this last exhibition. The Papps are exemplary models of the kind of philanthropy that make Phoenix Art Museum great. Nearly forty paintings from their collection have been gifted to our Museum. Marilyn Papp has created The Marilyn A. Papp Chinese Painting Endowment Fund for supporting annual programs presenting new research in Chinese painting each year to the public, along with the viewing of works from the collection. We offer our sincerest gratitude to a couple who were married for more than sixty years and who built a wonderful legacy together! Help Phoenix Art Museum continue to develop its Asian collection and to offer special exhibitions and programs to promote greater understanding of Asian culture. Join the Asian Arts Council. Visit its website www.asianartscouncil.org to find out more.

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Connect more Janet Baker, Ph.D., Curator of Asian Art, on masks, conserving scrolls, and making connections. For Janet Baker, Ph.D., the real joy in her work as a curator comes not just from the research she enjoys, the contact with exciting and historical works of art, but from those moments in the museum, at opening receptions, in gallery talks, when she sees the expressions on the faces of visitors of every age and every walk of life, expressions that reveal excitement, interest, and sometimes even affection, for the many exquisite objects that fill the Asian Gallery. Today, she talks with us, about those moments and others that have defined the last year and her time at Phoenix Art Museum.

Q: Would you say there has been a defining theme in Asian art over the last year? A: I would have to say it’s been “making connections.” I think that comes to the fore

when I think about two exhibitions of Asian art in 2014. Quiet Rage, Gentle Wail: Prints and Masks from Japan’s Noh Theatre, which was made possible by gifts from our 50th Anniversary and funded by a grant from ASU with the Japan Foundation, explored the expressive nature of Noh masks, and the universal theme of fleeting happiness amidst sadness, the release from suffering through death. So many of our visitors really connected with the stories behind the masks, gathering to see professional Noh actors from Seattle perform at the Museum. It was also the year that we witnessed the transformation of a dirty, 37-foot long piece of tattered and torn painted cloth. It came from Laos, and it was reborn after significant, glorious conservation, into a beautiful narrative story of Prince Vessantara, one of the 547 previous incarnations of Buddha, which emphasized selfless generosity. The scroll and its conservation was a gift from collector Peter Banko. Through his selfless generosity, the scroll was installed and provided an opportunity for members of our Asian Arts Council, the public, and people from the local Laotian community to come together to learn more about the scroll and its religious uses. It’s always a success when a single piece of artwork can draw together so many diverse people, forming connections where they might never have been.

MUSEUM INSIDER: ASIAN ART

It makes me think of a connection of a different kind. This year, Asian Arts Council funded the acquisition of an 18th-century spinach green nephrite jade bowl of translucent beauty. It adds to our growing collection of Chinese jade, established within the past six years from major donors. The Council dedicated this gift in honor of Marilyn and Roy Papp, in recognition of their contributions to Asian art and its programming for more than 30 years. The symbolism is moving to me. The bowl, which features a chrysanthemum pattern and handles with bat motives, is symbolic of marital happiness. It was likely used during a marriage ceremony, when the bride and groom would have sipped wine from it to signify their union. There could be nothing more meaningful to dedicate in honor of the Papps, who celebrated sixty years of marriage before Roy Papp passed away in 2011. It’s a connection of a different kind, but it continues to show me how much art can connect us to each other, in so many ways.

Q: What can we look forward to in the next year in Asian art? A: In the Asian Gallery, we have an opportunity to rotate in many of

the truly wonderful gifts we have received into the collection, including some contemporary objects alongside more historical pieces. Look for 20th-century Japanese designer kimonos, and 20th-century Chinese ink paintings from the Chu-tsing Li collection, along with ancient treasures from the Near East. I think each will add a new dimension to the Asian Gallery, expanding the ideas of what Asian art looks like or means. For me, 2015 will also be a year of preparation, laying the foundations for robust, special exhibitions in 2016 and 2017. I’m excited about plans to feature Tibetan and Mongolian esoteric Buddhist sculpture. These

objects have been in our collection for decades, and were first exhibited in the 1960s! It will be thrilling to revisit them today, with all of the advances in research and technology. Many of them are sealed with their sacred relics still contained securely inside. We have plans to X-ray some of the sculptures to reveal what they contain. What’s more, we’ve learned so much about this complex area of Buddhist philosophy over the last 50 years, and it will be really fascinating to view them in a new context. For 2017, we have something entirely different in store. Right now, we are working on a potential loan from an extensive, dazzling collection of samurai armor from a private collection in Texas. All I can say is get ready for some testosterone-infused high drama!

Q: As you reflect on those connections, what have been some of the most important connections you’ve made over the years that have really defined you as a curator?

A: There are so many. I’d begin with my time spent as

an exchange student at Nanjing University in the early 80s which defined my primary focus on China, leading to my dissertation research on remote places along the Silk Road in Northwest China. It ignited a passion for the cross-cultural influences of the Eurasian continent that remains alive in my research today. It was through my work that I met and married a Chinese artist in Beijing in 1985. I learned so much from his work and it stimulated my interest in contemporary Chinese art. Together, we traveled to Tibet, and through our experiences and research there, I discovered a new interest and developed a passion for a religion, people, and a way of life that has been threatened for the late 20th century. It’s a culture and way of life that is deeply precious to me, and it remains deeply embedded in my heart. I suspect it always will.

Throughout my professional life, first as a professor at Baruch College in New York, later when I moved into museum work first at Bowers Museum in Santa Ana to finally Phoenix Art Museum, my research and the chance to work with objects of the highest caliber from across Asia, those experiences have come to define me in many ways, with countless opportunities to grow both personally and intellectually.

Q: In reflecting on your time at Phoenix Art Museum, what would you say are the experiences that best define your time here so far? A: There are many. I had a chance early on to work with Drs. Barry and

Coleen Fernando on an exhibition of Sri Lankan art that enabled me to learn about a part of Asia about which I had previously known very little. The work on that exhibition led to a publication that has now become a reference work cited by scholars globally. Today, through the generosity of the Fernandos, Phoenix Art Museum has a collection of Sri Lankan art that rivals that of the Met in New York and LACMA in Los Angeles.

Left hand page: Cheng Yuan, Thinking of the Past, 20th century Oil on canvas Collection of Phoenix Art Museum, Gift of Gerry and Leslie Jones in honor of the Museum’s 50th Anniversary

This page, top left: Unknown, Japan Noh mask, Hannya, Showa period, 1926-1989 Painted wood Collection of Phoenix Art Museum, Gift of Roger Dunn

This page, top right: Unknown, China Covered Ovoid Jar with Blue Splashes, Large Meiping Bottle with Carinated Mouth,Ewer with dished mouth and chicken-headed spout, c. 4th-12th century Collection of Phoenix Art Museum, Gift of Gail and Stephen Rineberg

But honestly, what I think of most are the connections I made with some of the people I have come to know. Over the fifteen years I have been a part of the Museum, I really treasure the relationship I made with Marilyn and Roy Papp. Their astute and discerning collecting coupled with unparalleled kindness and generosity is something that most curators could only dream about when working closely with collectors. Although Roy passed away in 2011, his legacy lives on through the collection that he and his wife joyously and painstakingly built over the years, of which they have gifted more than 40 works to the Museum. Generations for years to come will have a chance to discover these artworks, what they mean, and why they matter, and that is truly a great legacy.

MUSEUM INSIDER: ASIAN ART

Along with the Papps, I’ve been able to build relationships with many collectors who have enriched my experiences here at the Museum, and whose generosity has advanced the work we do here. Stephen and Gail Rineberg, Laurie and Waynor Rogers, Gene Koeneman and Sherri Beadles, Roger Dunn, Drs. Thomas and Martha Carter, Andrew and Wan Kim, Jim Bialac, Jim and Ana Melikian, Amy Clague, Griffith and Patricia Way, Susan Ross and Gary Waddington, Gerry and Leslie Jones. I could go on and on. I’m sure I left people out. The truth is, the most meaningful experiences of mine have been encounters with such generous donors. Their gifts leave a legacy that all of us benefit from, just as those who come after us will as well. I am deeply indebted to each and every one of them.

Above left: Album of Flowers, Bamboo, Fruits and Vegetables, not dated Ink and color on paper Collection of Phoenix Art Museum, Gift of Marilyn and Roy Papp

Q: As we reflect on where we’ve been and what’s to come, we know that Phoenix Art Museum together is embarking on a new time of transition, as Mr. Ballinger retires after 40 years of service. You’ve worked with him for nearly 15 years. As we reflect on his work, what would you say are the most defining attributes of his leadership? A: Jim Ballinger is a leader who encourages curators to

think and dream and envision what they feel passionate about. And in most cases, to then strategize about how to make it happen. He has allowed us an unusual degree of freedom to explore new ideas and ways of thinking about things. That is a gift in leadership. In friendship, he has treated curators as his intellectual equals. He has treated every member of this staff as friends, taking an interest in their family and personal life. His equanimity is truly admirable. It is a rare quality in a leader.

MUSEUM INSIDER: ASIAN ART

WHY IT MATTERS: JANET BAKER, PHD, ON ASIAN ART “It does not matter what city you live in in America, Asian art and culture is important. Depending on how you define it, Asia encompasses roughly half of today’s world population and includes about 38 countries. It’s also the source from which all of the world’s major religions originated. It is where the largest number of immigrants to the US are now arriving from, and it is most likely where the future of most of our global business transactions will be. For me, these are compelling reasons for Americans to understand the foundation of Asian cultures, languages, beliefs and values. Art can convey all of those in a visual form that can be made accessible without years of intensive language study or advanced degrees. Through the appreciation of artistic expression, in which the highest aspirations of a culture may be transmitted to its people as well as anyone else who takes the time to learn to look, we can understand those values and better understand the people who share them.”

DEFINING MOMENTS: JIM BALLINGER On the Run

“For those who have not travelled with Jim, let me just say he doesn’t get museum fatigue nor jet lag. If you find yourself traveling to Dallas with him on a research trip, expect to visit six museums in 24 hours (including The Sixth Floor Museum, which has nothing to do with art). I know. Because I did it. And if you ever fly to China with him, expect to sit next to a 6’3” man in economy class for 13 hours. No complaints (from either of you). And then, get up early the next morning in Beijing or Shanghai or Xi’an and set for on a full—and I mean full—day’s agenda with enthusiasm. I know. Because I did that too. That’s just Jim—go, go, go, full of boundless energy. It was such a rewarding experience.” –Janet Baker, Curator, Asian Art

Unknown, China Bi Disk, openwork ring with triple curving dragons 19th century Nephrite jade

A gift of Peter & Pari Banko In honor of

James K. Ballinger Museum Director 1982 –2015

In a mid-20th century essay, museum scholar Stephen Weil from the Smithsonian Institution wrote that the young museums in the burgeoning cities of the West “…have neither important collections nor the prospect of acquiring them.” Jim Ballinger proved him wrong. Under his visionary leadership, donors, staff, trustees and volunteers worked together to build a nationally and internationally recognized permanent collection of encyclopedic breadth. He oversaw and guided expansion of the physical plant to showcase multiple and diverse collecting areas, as well as to attract major exhibitions and present educational programs that have energized the City of Phoenix. Jim Ballinger has made Phoenix Art Museum a special place that offers enriching experiences for the individual and the community. He has done so with intelligence, enthusiasm, leadership, and grace. Thank you, Jim Ballinger

Congratulations, Jim â&#x20AC;&#x201D; one of our favorite and most steadfast volunteers. We all wish you well on your new adventure. Love from your HOV fan club.

Comfort and dignity as life nears its end Call 602.530.6900 or visit hov.org.

Some art is priceless. So are some people. It has been our privilege to work with Jim Ballinger and the Phoenix Art Museum all these years. Thank you, Jim, for all that you have done to support art of every kind in our community.

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The Heard Museum thanks our friend and colleague Jim Ballinger for his years of leadership and wise advocacy for arts and cultural organizations, large and small, in our community and nationally. We send our best wishes as Jim, one of the Phoenix arts community’s greatest ‘Super Heroes’, begins the next chapter in his saga.

“Super Indian” art created by Arigon Starr © 2015 Wacky Productions Unlimited. This piece, plus much more will be featured in the Heard Museum’s upcoming exhibit Super Heroes: Art! Action! Adventure!, opening May 16, 2015.

American Indian Art and History 2301 N. Central Ave. Phoenix, AZ 85004 602.252.8840 | heard.org

Central United Methodist Church Sharing God’s love and grace with all, inspired by ministry, mission and music.

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Why We Give

“We went to Phoenix Art Museum on our first date.” – Pam Slomski, Museum Committee Member, and Ray Slomski, Attorney and Museum Trustee

Supporting Phoenix Art Museum Since 1995 “Phoenix Art Museum has always had special significance for us. We went to the Museum on our first date together in 1982 to view the Philip Curtis collection. We first got involved as supporters when we attended our first Contemporary Art Forum auction. When I was a young boy, some of my best memories were on field trips to great Chicago museums. At the time, I didn’t understand I was the beneficiary of other’s generosity. Now, Pam and I believe that every generation is a steward for those to come. Our Museum needs the support of many to preserve and expand its treasures. It’s a jewel in our city and a place of wonder. Art matters here, and everywhere. It’s a unique place where diverse ideas can be shared and celebrated. The Museum has been the beginning of some truly important times in our lives. We hope it always will be.”

WHY I GIVE

Life is what happens to you while you’re busy making other plans. – Allen Saunders (and John Lennon*)

Forty years of life…congratulations and love from Linda, Kristen, Eric, Annabella, Kasey, Bethany, Andy, Charli, Connor, Erin, Scott, Madison, Brayden, Katie, Dave, Cameron, Kurt, Declan, and Arizona. *From John Lennon’s Beautiful Boy off Double Fantasy album

Communicate, collaborate, cultivate. Docents are, for many visitors, the public face of the Museum. As volunteer teachers, they support the Education Division in making connections between viewers of all ages and the great diversity of objects in our galleries. Each year, Phoenix Art Museum Docents lead discussions with thousands of K-12 students in front of artworks, take digital presentations to classrooms to reach thousands more, contribute to our communityâ&#x20AC;&#x2122;s quality of life through talks at Senior Centers, and share their passion for art with adults on daily tours and in our Research Library. The Docent Program attracts volunteers who are motivated to share a love of art, learning and serving the community. To find out more about the 16-month challenging and rewarding training program, attend the upcoming Prospective Docent Coffee. No background in art history is required.

Prospective Docent Coffee Monday, May 18th, 2015 10am-Noon For reservations or further information, contact the Education Department at education@phxart.org or call 602-257-2102.

SUPPORT

DOCENT VISION STATEMENT To expand and use our knowledge and enthusiasm for the visual arts and to make every docent-led tour and outreach event a positive experience for our audiences, ourselves and Phoenix Art Museum.

For Vanessa Davidson, the Shawn and Joe Lampe curator of Latin American art at Phoenix Art Museum, the last year was all about introductions, as she worked to expand our collective awareness of great Latin American art. She talks with us today about where we’ve been, where we’re going, and what she’s learned along the way.

Q: If you had to, what would you say was the defining theme for Latin American art over the last year?

A: The main impulse behind our Latin American art exhibition

schedule was a desire to introduce our community to masters who are widely acclaimed in Latin America, but have been long underrecognized in the U.S. This included artists like Argentine artist Antonio Berni and Brazilian artist Paulo Bruscky. That initial impulse expanded to include introducing our community to lesser known art forms, as well. For example, I organized an international exhibition of contemporary mail art on the theme “Art is Our Last Hope;” we received submission fro 444 artists from 35 countries, including many from Arizona. We also partnered with monOrchid Gallery in downtown Phoenix to open up this exhibition to an even wider audience and extend its run time. Following the exhibition, the submitted mail art will became part of the John Held, Jr. Papers, at the Archive of American Art, part of the Smithsonian Institution in Washington, DC.

Meet and greet Vanessa Davidson, Ph.D. discusses expanding horizons and defining moments.

Introducing our local and regional community to great works by Latin American artists extends beyond exhibitions. Part of our commitment is to grow our collection in this area as well, and because of recent gifts by generous donors, have enabled us to do just that. Just this year, Wan and Andrew Kim donated the 2009 Cuchilla Cubana (Cuban Pocket Knife) sculpture by the Cuban collective The Merger, in honor of Jim Ballinger, our longtime director who retires this year. Diane and Bruce Halle, Judy and Sam Linhart, Lisa Sette and Angela and Leonard Singer collaborated to donate Venezuelan artist Luis Molina-Pantin’s wonderful 2009 Pooh (Cuenca, Ecuador) photographs to our collection, and the Halles also donated Mexican artist Teresa Margolles’ powerful 2014 installation work La búsqueda The Search to the Museum, which will be on view in our upcoming Hidden Histories exhibition. But it hasn’t all been focused on contemporary works. The Latin American collection is extensive in scope, and includes works from across the centuries. Thanks to the generosity of Shawn and Joe Lampe, we were able to conserve, restore and frame many Spanish Colonial works from the Culpepper bequest of 18th-century paintings from the Viceroyalty of Peru. These conserved works will be the subject of an upcoming exhibition in the fall of 2015.

Q: The last year was your third as a curator at Phoenix Art Museum. As you reflect back, what stands out to you? What have been some of the most defining moments in your time as a curator, and at the Museum?

MUSEUM INSIDER: L ATIN AMERICAN ART

Unknown, Peruvian, Cuzco School, The Virgin of Pomata with the Christ Child, 18th century Oil on canvas Collection of Phoenix Art Museum, Gift of Gerry S. Culpepper

A: In my professional career, one of the earliest defining moments

came while I was pursuing my Ph.D. at NYU’s Institute of Fine Arts. After graduating from Harvard, I had spent two years working as the curatorial assistant for the pre-Columbian collection at the Museum of Fine Arts, Boston. And while in New York, I gained invaluable experience working for almost four years as an exhibition assistant for the landmark The Colonial Andes: Tapestries and Silverwork 15301830 exhibition at the Metropolitan Museum of Art. The experience of working with Latin American art from many diverse periods was truly formative for me. Because of this, I feel as passionate about and as comfortable curating art from the colonial period as I do art from the 20th century and even into the 21st. During my time at Phoenix Art Museum, I think one of the most significant experiences as a new curator was working on the large-scale exhibition of the Diane and Bruce Halle Collection of Contemporary Latin American Art, called Order, Chaos and the Space Between. Not only did my work on that exhibition enable me to become familiar with one of the most important collections of Latin American art in the world, but it also gave me the opportunity to collaborate with and learn from Dr. Beverly Adams, who has become a mentor to me. I think another truly defining, watershed moment came in 2012.

Mr. and Mrs. Halle presented the Museum with a list of truly stellar promised gifts that will come to Phoenix Art Museum as part of their bequest. This extraordinarily generous gift, includes 30 artworks by 13 artists from across Latin America, including Argentina, Brazil, Chile, Cuba, Mexico and Venezuela. This gift transform our collection, in both geographical and chronological scope, enabling Phoenix Art Museum to emerge as a beacon for the collection, display and study of Latin American art in the future.

Q: Why is that important? Why is Latin American art in general important to Phoenix Art Museum and its community? A: Over the past twenty years, the art and culture of Latin America

have gradually become better understood on a global scale. Scholars, curators, art enthusiasts are beginning to grasp the richness, diversity, and originality of art produced in the region across the past centuries since the “discovery” of the Americas. Latin American art is relevant to all those who appreciate world culture. In our own community, along with exposing visitors to great art, it’s truly meaningful when our visitors can make a connection with what they see in the galleries. Our city’s significant Hispanic community has had a tremendous impact on the growth, culture and history of Phoenix as a whole. To honor that, it’s important that our collection be, in part, a reflection of that community.

MUSEUM INSIDER: L ATIN AMERICAN ART

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David Levinthal, Untitled (Wild West), 2003, digital Duraflex print, 20” x 20”, Edition of 7. Courtesy of Lisa Sette Gallery

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The Merger, Cuchilla cubana (Cuban Knife), 2009 Polychrome steel Collection of Phoenix Art Museum, Gift of Andrew B. Kim and Wan K. Rha Kim in honor of Jim Ballinger

DEFINING ART: THE TOP 5 WORKS THAT DEFINE LATIN AMERICAN ART AT PHOENIX ART MUSEUM Curators usually get a little nervous (and a lot evasive) when you ask them about their favorite anything. Working with a wide range of diverse objects every day, most of the time their favorite artworks change from one hour to the next. Instead, we asked Vanessa Davidson to name the top five artworks in the Museum’s collection that she think best defines Latin American art at Phoenix Art Museum. 1. Frida Kahlo, El suicidio de Dorothy Hale (The Suicide of Dorothy Hale), 1939. This is one of the most best-known artworks at the Museum, and the single most requested for loans by other institutions. Now one of the most celebrated names in art, Frida Kahlo’s talent was only duly recognized after her death. This work was commissioned by playwright, editor and ambassador Claire Boothe Luce to honor Hale’s memory. She expected a commemorative portrait of her friend, but was so shocked upon seeing the painting that she wanted to destroy it. Fortunately, friends convinced her only to paint out the inscriptions identifying her as the person commissioning the work.

Q: As we delve into 2015, what can visitors look for this year? A: Already, we have an exciting exhibition schedule for Latin

American art. Beginning in May, we will present Hidden Histories in Latin American art. This exhibition explores neglected histories involving political strife, violence and upheavals across Latin America, such as the violence against women in Ciudad Juárez, Mexico, the marginalization of indigenous communities in Guatemala, and the fate of civilians “disappeared” by military and paramilitary groups in Colombia. One intriguing aspect shared by the works in this exhibition is the way in which the featured artists transform everyday objects into artworks with a potent symbolic charge. In the fall, we’ll feature Masterworks of Spanish Colonial Paintings, drawn from our own collection. This includes the recently restored works from the extensive Gerry S. Culpepper bequest, including 71 oil paintings, 135 retablos (small devotional paintings on metal), 104 santos (carved wooden sculptures), and more. Almost all of the works were created in the 18th-century Viceroyalty of Peru, which encompassed much of modern-day South America.

Q: We’ve reflected on the moments that defined us in the past. Now, what do you hope will be the defining moments of Latin American art at Phoenix Art Museum in the years to come?

A: I would like to continue to organize innovative exhibitions of

that foster a new awareness of the richness and diversity of Latin American art and culture across the centuries. I also hope to partner with curators at institutions in Latin America to bring extraordinary works from their collections to Phoenix. I hope to continue our new tradition of highlighting Spanish Colonial artworks alongside the exciting, imaginative contemporary works being created today, giving insight into the most defining moments of Latin America in the past, and the present, and what’s yet to come.

2. Alfredo Ramos Martínez, La Malinche (Young Girl of Yalala, Oaxaca), 1940. Ramos Martínez is relatively little known outside of Mexico, primarily because his teaching role eclipsed his artistic career during the 1910s and 1920s. Early in his career, Ramos Martinez painted in the Neo-Impressionst style he’d cultivated in Europe in the 1900s. When he came to the United States in the 1929, he discovered the American taste for idealized scenes of rural Mexico and its peasants. This work is typical of the heroic treatment of the indigenous that would characterize his late work. 3. Víctor Grippo, La comida del artista (The Artist’s Meal), 1991-2002. Grippo was one of the foremost pioneers of conceptual art in Argentina during the 1970s, and his mixed-media installation demonstrates his signature fusion of everyday objects with esoteric concepts. This cryptic work especially reflects Grippo’s interest in exploring relationships between art and alchemy as well as processes of transformation. 4. The Merger, Cuchilla cubana (Cuban Pocket Knife), 2009. The Cuban artist collective known as The Merger was founded in Havana in 2009 and consists of: Mario Miguel González, Alain Pino, and Niels Moleiro Luis. Their work is deeply rooted in the social, economic, and political crises of present-day Cuba, but they also tackle pressing international issues. In many parts of the developed world, a Swiss army knife comes in handy for odd jobs. In Cuba, however, a tiny knife, toothpick, and pair of scissors do not suffice; instead, Cubans require tools like machetes, pickaxes, pitchforks, and shovels to conquer the hardships of everyday life. 5. Anonymous, Cuzco School, Peru, The Virgin of Pomata with the Christ Child, 18th century. Found throughout colonial Latin America, this type of image is known as a statue painting. Here, Our Lady of Pomata is depicted as a carved figure dressed in ornate garments adorned with precious materials, such as the swags of pearls that arrived in the New World from Asia, holding a doll-like baby Jesus. Housed in the church of Pomata on the shores of Lake Titicaca in Peru, this sculpture was believed to grant miracles; because of this, the town itself became an important pilgrimage site during the colonial period.

MUSEUM INSIDER: L ATIN AMERICAN ART

To James K. Ballinger, Director Emeritus Thank you for your Stewardship, Dedication and 33 years of Service as The Sybil Harrington Director of Phoenix Art Museum. â&#x20AC;&#x201C; Dr. Hong K. Ong and Doris Ong

Why I Give

“When we make a gift to the Museum, we are giving a gift to ourselves.” – Alice Bazlen, Circles Member and Community Volunteer

Supporting Phoenix Art Museum Since 1993 “My first visit to the Museum was for Art Masterpiece volunteer training in 1993 when our daughter was in kindergarten and we were new arrivals to Phoenix. That visit opened up a new world for me, one that includes appreciation for art, a creative outlet for volunteer service and a broad circle of friendships. Since then, I have spent many, many hours at the Museum. I’ve seen school children making observations, sharing ideas and demonstrating critical thinking that shows a side of themselves their teachers might never have seen in the classroom. I’ve watched Alzheimer’s patients and their loved ones smile as an artwork triggers a special memory. I’ve witnessed a mother and her middle-school daughter enjoying their time together, awe-inspired as they use the in-gallery prompts to appreciate contemporary art on a free Wednesday evening. And I’ve listened to many out-of-town visitors commenting about the beauty of the architecture, the gallery installations and the quality and variety of art they found in our Museum. Their impression of our community is more positive for it. It’s a place that excites and inspires wonder. Phoenix Art Museum is your Museum. When you make a gift to the Museum, you are investing in keeping it vibrant and relevant. When we make a gift to the Museum, we are giving a gift to ourselves.”

WHY I GIVE

Men’s Arts Council BECAUSE REAL MEN LOVE ART. Men’s Arts Council (MAC) has discovered that good living and good giving go hand in hand. Founded in 1967, MAC was first established to support the art, programs, and activities of Phoenix Art Museum by a group of forward-thinking men committed to giving back by opening a path of access to great art, while creating a community of friends with shared interests. We have been honored to play an important role in many of the Museum’s defining moments in its fifty-six-year history. Today, MAC numbers more than 250 members, who together organize four distinctive events, including the exciting Bell Lexus North Scottsdale Copperstate 1000 vintage car road rally, the Southwest Double Gun Expo for those who appreciate and collect fine double shotguns, a signature culinary event, and the newly created Copperstate Overland, a vintage 4x4 expedition. Additionally, MAC owns ARTenders, the exclusive beverage provider for events at the Museum. They say living well is the best revenge, but we say living well and giving well are the best way to make a difference in the lives of those around you, while enjoying yourself along the way. Join us. The Men’s Arts Council would like to thank Jim Ballinger for his dedication and commitment to Phoenix Art Museum over the past 40 years. The Men’s Arts Council would not be the organization it is today without his support and guidance. Jim, congratulations on your well-earned retirement, and know that you will always be one of us. mensartscouncil.com | 602.307.2007 ARTenders | 602.307.2046

SUPPORT

Stuart Walker, Mountain Rancho, 1935 Oil on linen Collection of Phoenix Art Museum, Museum purchase with funds provided by Men’s Arts Council’s Western Art Endowment Fund

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COPPERSTATE OVERLAND

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SOUTHWEST DOUBLE GUN EXPO Saturday, March 14, 2015 Swdge.com

COPPERSTATE 1000

Men’s Arts Council SUPPORTING PHOENIX ART MUSEUM WITH EXTRAORDINARY EVENTS SINCE 1967.

BELL LEXUS NORTH SCOTTSDALE COPPERSTATE 1000 Saturday, April 18 Copperstate1000.com MAC CULINARY EVENT Coming Fall 2015 COPPERSTATE OVERLAND October 2015 CopperstateOverland.com

SUPPORT

Congratulations to Jim Ballinger on all that he has done for arts in our community. â&#x20AC;&#x201C; Bill and Mary Way and

Mobilizing capital to generate economic opportunities for people in the developing world.

To one who has it all: Respect, gratitude, friendship. Thank you Jim, for the last forty years. â&#x20AC;&#x201C; Angela and Leonard Singer

Wide palette Curator Jerry N. Smith talks to us about the defining (and never dull) moments of his time at Phoenix Art Museum 2014 was a busy, productive year for Phoenix Art Museum, especially for Jerry N. Smith, Ph.D. In addition to organizing six exhibitions over the last year along with his work on both the Museum’s large-scale Warhol and Leonardo shows, Smith, who has long served as the Museum’s curator of American and Western American art, expanded his role this year. Along with his work in American art through 1950 and art of the American West, Smith’s role will now include officially serving as curator of the Museum’s extensive European collection. He sat down with us to answer a few questions about the years behind him, the years ahead, and all of the defining moments in between.

Q: Would you say there has been a defining theme for the last year here at the Museum? A: In a word, diversity. Overseeing six exhibitions over the last year,

in addition to our work on the Warhol show, I was able to work with it all. It began with the modernist works of the 1930s and 1940s by William Henry Johnson. It continued with the remarkable light and shadows of the Southwest prints of Gene Kloss. We celebrated the contemporary Western American paintings by Don Coen that brought the often invisible faces of migrant farm workers to life in the galleries, at a grand scale. There was a small installation of great works by unidentified European artists and the showcase of contemporary Western American art with The West Select. Finally, we have our current Steele Gallery exhibition of Leonardo’s Codex Leicester. It’s not every day that, as a curator, one gets to work with such vastly different collection areas, such a diverse array of artists and works. There has never been a dull moment.

That diversity extended to our major acquisitions this year. In European art, thanks to the generous support of Support Organizations, the Collectors’ Club and Friends of European Art, we acquired an impressive 17th century Dutch blue-and-white vase. In Art of the American West, we acquired a pair of truly important, major paintings of the 1970s by Fritz Scholder, along with contemporary works by Ted Waddell, Scott Baxter and Merrill Mahaffey. We acquired seven terrific prints by Gene Kloss, and 22 works by Beth Van Hoesen, a gift from the artist’s estate. In modern American art, we added two significant Transcendentalist paintings from the 1930s by Agnes Pelton to the collection. In European art, we added a Baille edition of Rembrandt’s One Hundred Guilder etching, along with works by William Hogarth and Léon Lhermitte. And, if you have a chance to see it, through the generosity of the support organization Western Art Associates, we were able to purchase an incredible stone carving of a gila monster by Steve Kestrel that is already a favorite with both our Docents and our visitors. Without the generosity of our support organizations and individual donors, we could never accomplish what we have at the Museum, in any collecting area.

Q: The Museum has been without a curator of European art for a long time. What can visitors expect to see as you take the reins?

A: The departure of our European curator in 2008 was followed by an

economic downturn that made it impossible at the time to replace the position. At that time, we committed, as a group, to continue to cover European art. Our longtime director Jim Ballinger took the lead, with the support of both the education department and myself. With Mr. Ballinger’s retirement, I have officially taken on European Art as part of my curatorial work here, and along with that, I’m committed to elevating the profile of European art, increasing

M U S E U M I N S I D E R : A RT OF T H E A MERICA N W EST A N D EU ROPE A N A N D A MERICA N A RT T H ROUG H 1950

our visitors’ access to this important part of our collection. I look forward to taking time in the vaults, to create exhibitions of works rarely displayed, as well as working to bring international exhibitions to the Valley. Already, we have plans to host an exhibition of drawings by Michelangelo from the Casa Buonarroti in Florence. First Leonardo and now Michelangelo: we take our European art seriously.

Q: Mr. Ballinger’s retirement brings to an end 40 years of work with Phoenix Art Museum. You first began your career with the Museum working with him. What will you carry with you going forward? A: I worked for Jim initially as a research assistant, returning four years later as

curator. When I was hired, Jim was officially the director and curator of American art, which means I was Jim’s curatorial replacement. That could have been awkward under different circumstances, but not with Jim. He allowed me to grow as a curator without micromanaging or pointing out along the way that he really knew more on just about any given subject. He has proven to be a great mentor and someone I intend to stay in contact with (as long as he will answer my phone calls). We will all miss Jim’s remarkable institutional knowledge. After 40 years, he has stories about acquisitions, exhibitions, building campaigns, etc… that are just incredible. I think that is something we will all continue to miss for a long time to come, probably much more than we yet realize. Having grown up in Phoenix, I have seen the Museum’s transformation over Jim’s tenure, and it is absolutely true that we would not be the internationally respected institution we are today were it not for Jim’s leadership.

Q: In your own career at Phoenix Art Museum, first as a curatorial assistant, and now as a curator, what have been some of the defining moments that stay with you?

Working as a research assistant for Jim Ballinger when I was working on my Master’s degree from ASU made me realize that I wanted to do museum work rather than teach. Having the opportunity to return to Phoenix after completing my PhD studies in Kansas was fantastic. It has allowed me to expand my areas of knowledge

and work on projects that are remarkably varied. And I mean varied. In ten years with the Museum, I’ve overseen 35 exhibitions, each bringing what I would think of as truly defining moments for me. Working on major projects, including Cézanne and American Modernism and the Ernest Blumenschein retrospective, both of which I was able to contribute essays for the exhibition catalogs. For the Cézanne exhibition, I added several works of Southwestern modernism, including an acquisition of a 1925 painting by Willard Nash, possibly the finest painting the artist ever made. Shortly after we acquired it and it was published it in the Cézanne catalog, the exhibition traveled back east, where critics for The New York Times and Wall Street Journal saw it and described Nash in the same light as heavyweights like Marsden Hartley and John Marin. It was such a rewarding experience. More recently, Don Coen: The Migrant Series exhibition and catalogue was a true highlight for me. Bringing these amazing paintings first to Phoenix before traveling them around the country is a rewarding experience. The paintings are monumental in scale, and the exhibition was the first time the artist ever saw all of them at one time—his studio is simply not large enough to see more than two at a time. When they were displayed together, seeing the overwhelming reaction of his family is something that will always stay with me.

Q: What do you have planned for us over the next year, during this time of transition? A: This summer, we will present New York to New Mexico: Masterworks of

American Modernism from the Vilcek Foundation Collection. It’s a traveling exhibition that features greats like Marsden Hartley, Arthur Dove, Stuart Davis and Georgia O’Keeffe. We’ll include a companion exhibition drawn from our own collection of American art, which gives our community a chance to see works seldom displayed. What’s more, we’ll be featuring an exhibition of American and European art from the 1920s and 1930s in Lyon Gallery. Think of it as “the summer of modern art” at Phoenix Art Museum. I promise you, you haven’t seen anything like it.

M U S E U M I N S I D E R : A RT OF T H E A MERICA N W EST A N D EU ROPE A N A N D A MERICA N A RT T H ROUG H 1950

Above: Jean-Léon Gérôme, Pollice Verso (Thumbs Down), 1872 Oil on canvas Collection of Phoenix Art Museum, Museum purchase At right: Narcissa Niblack Thorne, French Louis XVI Dining Room, 1774-1793, 1932-1937 Mixed media Collection of Phoenix Art Museum, Gift of Niblack Thorne

Top left, right hand page: William Merritt Chase, The White Rose (Portrait of Miss Jessup), c. 1886 pastel on paper mounted on canvas Collection of Phoenix Art Museum, Gift of Miss Margaret Mallory

M U S E U M I N S I D E R : A RT OF T H E A MERICA N W EST A N D EU ROPE A N A N D A MERICA N A RT T H ROUG H 1950

DEFINING ART: TOP 5 OBJECTS THAT DEFINE PHOENIX ART MUSEUM Curators usually get a little nervous and a lot evasive when you ask them about their favorite anything. Working with a wide range of diverse objects everyday, most of the time, their favorite artworks change from one hour to the next. Instead, we asked Jerry to name the top five artworks in the Museum’s collection that he thinks best define Phoenix Art Museum. 1. Georgia O’Keeffe, Pink Abstraction, 1929. Phoenix Art Museum has a remarkably strong collection of modern, pre-1950 American art, and this painting is an unparalleled representation of it. 2. Ernest Martin Hennings, Taos Indian Chanters with Drum, c.late 1930s. One of the finest paintings to come out of the Taos, New Mexico, region. It is a highlight of the Museum’s holdings in historical art of the American West. 3. William Merritt Chase, The White Rose (Portrait of Miss Jessup), c.1886. A little under life-sized, this is an exceptional example of Chase’s work in pastel. It is particularly defining of our collection because the work is too delicate to travel, so anyone who wants to see it has to come to here! 4. Jean-Léon Gérôme, Pollice Verso (Thumbs Down), 1872. This European history painting is one of the best known works in the entire collection. It was even shown to the director Ridley Scott as inspiration for the making of the film Gladiator, and that’s pretty cool. 5. Thorne Miniature Rooms. Presented to the Museum in 1962, these exacting period rooms in miniature have been admired and enjoyed by generations of visitors. It is not unusual to see adults who first visited the rooms when they were young now bringing their children in to see the same rooms, unchanged. Although charming and somewhat whimsical for their tiny scale, they are actually marvelous history lessons. Museums around the world have period rooms, and so do we—only ours are on a small scale.

DEFINING MOMENTS: JIM BALLINGER DO YOU AGREE? When you think of Phoenix Art Museum, what are the top 5 objects that most resonate with you as the most defining artworks in the Museum? Tell us your thoughts. #definingphxart

#DEFININGPHXART

Like a Kid on Christmas

“What I will always remember about the more than ten years I worked with Jim Ballinger was how, even after 40 years at the Museum, he still gets excited by art. And when I say excited, I mean clapping his hands, pumping his fists kind of excited. He would crack me up whenever we had works come back from conservation. We would open the crates together to see the newly cleaned and conserved paintings, and he would just be so excited, exclaiming, “This is just like Christmas!” And you could tell he meant it.” –Jerry N. Smith, PhD, Curator of American and European Art to 1950 and Art of the American West.

M U S E U M I N S I D E R : A RT OF T H E A MERICA N W EST A N D EU ROPE A N A N D A MERICA N A RT T H ROUG H 1950

Ballet Arizona Ballet Arizona’s mission is to teach, create and perform outstanding classical and contemporary ballet and to serve its communities through superior educational and outreach programs. In 1986, the talents of three young ballet companies merged to create Ballet Arizona. Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, Ib Andersen danced with The Royal Danish Ballet at age 16 and, by 20, was the youngest principal dancer in the Company’s history. In 1980, at George Balanchine’s invitation, he joined New York City Ballet as a principal dancer. Under Mr. Andersen’s leadership, Ballet Arizona now serves approximately 90,000 audience members and stages more than 50 performances each year. He directs more than 31 dancers in a demanding repertory that combines both classical and contemporary ballets.

Ballet Arizona pages sponsored by the Dorrance Family Foundation.

Ballet Arizona Center for Dance “...he [Ib Andersen] has acquired a reputation as an artistic director of uncommon prowess in transforming Ballet Arizona, which he has been leading since 2000, into something special.” – Brian Seibert, The New York Times

In 2010 Jacquie Dorrance and Carol Schilling co-chaired

a fundraising campaign called The Next Step and now Ballet Arizona occupies spacious new facilities, conveniently located near downtown, made possible by the City and hundreds of generous donors – individuals, foundations, and corporations. In the new Ballet Arizona Center for Dance, we are spreading our wings to embrace all who appreciate and support the dance arts. The Center is a laboratory for artistically vibrant dance for a broad and varied audience. Here we are developing and rehearsing works for the stage, teaching students of all ages, and working with community partners to celebrate the dance arts and dance learning throughout the region.

Photos by Bill Timmerman and Rosalie O’Connor

The generous support of the Dorrance Family Foundation created the possibility for the Dorrance Theatre to become a gateway for the community to experience the beauty, athleticism and artistry of dance. Within the theatre walls, audiences have the opportunity to engage with Ballet Arizona in entirely new ways – observing professional rehearsals, gaining insight into the creative process, and encountering dance more personally than ever before. DORRANCE THEATRE | A black box theatre with seating for 299, the Dorrance Theatre brings audiences closer and provides a venue for artistic innovation. PLEASE VISIT US | We are the largest professional dance facility in the Southwest. Come to tour the Center, take a dance class, become a volunteer or watch a performance in our intimate Dorrance Theatre. PLEASE JOIN US | For more information on ways to support Ballet Arizona, visit balletaz.org.

Discount Tire supports the The Phoenix Art Museum

We’re dedicated to preserving our COMMUNITIES’ resources.

Monument Valley, AZ

And to creating NEW ONES. The Dorrance Family Foundation supports programs and initiatives that celebrate and nurture first generation college students, and conserve and protect natural resources. We work today to provide opportunities, experience and knowledge to the next generation so they may achieve their educational goals, and to preserve and sustain our communities’ natural resources through the programs we support.

THE DORRANCE FAMILY FOUNDATION dorrancefamilyfoundation.org | dorrancescholarship.org Arizona | California | Hawai’i The Dorrance Family Foundation supports education, conservation and programs that improve the quality of life in our communities.

Western Art Associates

Maynard Dixon, Watchers from the Housetops, 1931 Oil on canvas Collection of Phoenix Art Museum, Museum purchase with funds provided by Western Art Associates

FROM OLD WEST TO NEW, WE HAVE SOMETHING FOR YOU. If you think you know Western art, think again. We have so much more in store for you. Western Art Associates has proudly played a key role in many of the defining moments of Phoenix Art Museum’s fifty-five year history, and this is only the beginning of what we can do, together. Founded in 1968, Western Art Associates began as the brainchild of committed, passionate people willing to work together to foster appreciation of art. Today, we connect people with art, with each other, with a chance to learn more about the American southwest, and the paintings, sculptures, and photography it inspires. Whether it’s working to support new acquisitions and exhibitions, or exciting, educational events, there is no limit to what we can do together for a museum that is near and dear to all of us. Here’s your chance. Be inspired, and be a part of a lasting tradition of Western art.

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Dean Mitchell, Pima Relic, 2012 Watercolor Collection of Phoenix Art Museum, Museum purchase with funds provided by Western Arts Associates, J.M. Kaplan Fund, New York, and Men’s Arts Council

Like the Gila Monster, Western Amercan Art is unique to the American Southwest.

Steve Kestrel, Vanishing / Gila, 2014, granophyric obsidian and sandstone. Museum purchase with funds provided by Western Art Associates and the J.M. Kaplan Fund, New York

We thank Jim for blazing the art trail in Phoenix for 40 years and welcome Amada Cruz, the new sheriff in town. Western Art Associates (WAA) thanks Jim Ballinger for his leadership and support of this important American genre. One of the longest serving support organizations for Western American Art in the nation, WAA has contributed to more than 75 exhibitions and made more than 50 acquisitions for the Phoenix Art Museum, like this newest piece, Vanishing/Gila, 2014. For membership information contact Chris Slayter at chris@cslayter.com

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Explore. Engage. Enjoy. Phoenix Art Museum Membership opens the door to a year of culture, activities, and entertainment. Between nearly 18,000 works within the Museumâ&#x20AC;&#x2122;s revolving permanent collection, world-class traveling exhibitions, and ample monthly programs and events, thereâ&#x20AC;&#x2122;s no better way to support your community of the arts. Our levels of Membership are optimally crafted to assist in sharing this access to art with family and community. Becoming a Member of Phoenix Art Museum means you are supporting the largest, most diverse visual arts organization in Arizona.

THREE WAYS TO JOIN call the Membership Office at (602) 257-2124

Membership Benefits Package All Phoenix Art Museum Members receive the following: Unlimited free General Admission Free admission to special exhibitions Invitation to Members-only exhibition previews and special events 10% Discount at The Museum Store 10% Discount at Palette restaurant at Phoenix Art Museum Invitation to save 20% off during Members-only December Discount Weekend Subscription to PhxArt Magazine and Members ARTbeat e-newsletter Free admission to gallery talks and tours Free or discounted demonstrations, workshops, seminars and lectures Free or discounted tickets to concerts and films, including National Theatre Live simulcasts Opportunity to join Museum Support Organizations

online at phxart.org visit the Visitors Desk at the Museum

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100% tax-deductible Special Add-on for all Members 65 or older: Enjoy extra benefits throughout the year; be sure to mark your membership form to start receiving monthly invitations to special events.

“As women, we take on so many roles and forget to take care of ourselves. Art is how I do that for me.”

“I love that I can take my time here. I’m on my own schedule with my gray, plastic card.”

Alex Cooper, Real Estate Agent, Homesmart, and Supermom

Kara Roschi, Owner, Practical Art, practical-art.com

Member since 2007

Member since 2008

“I first joined the Museum when I was new to the Valley. A friend of mine was a member of Women’s Metropolitan Arts Council (WoMAC, a Museum support organization) and invited me to check it out. I joined at the next meeting. Today, as women, we take on so many roles and often forget to take care of ourselves, and make time to do what we enjoy. I would say getting involved in WoMAC has been a way that I give back to myself, while giving to the arts and the community. Because of our monthly tours, it is a day and time that I can come to the Museum and get a tour or lecture on something that inspires me. It’s also a wonderful social and networking time with a group of women that have now become my close friends. So WoMAC and the Museum have given me just as much back, if not more than I have given them. Now, I’ve been a Member of WoMac and the Museum for seven years. There’s always something new and intriguing to see and learn about for myself, my husband, and my two girls, who are five and eight. They love coming to the Museum, especially during PhxArtKids days, where there are extra events happening that are geared toward families. They enjoy the exhibitions too. I find that with a little explanation, they’ll enjoy any exhibit in the Museum, even at their ages. But regardless of what we come to see, we always have to make a special trip through the Fireflies. My girls could spend a whole afternoon in there, just gazing at all of the lights and wandering through the dark. We love that moment with them. To me, that’s why art is important. It captures our reflection during a moment in time, it evokes emotion, thought, contemplation, all that makes us human, a meaningful reflection of who we are, what we’ve been through and where we are going. It matters.”

“I first discovered Phoenix Art Museum when I was an undergrad at Arizona State University. As students, we were encouraged to attend the stellar events, lectures, and screenings here, and to use the collection to deepen our understanding of art that is typically only presented as flat, projected images in the classroom. Digital imagery is a barely-functional substitute for original, living, works of art, and so having the Museum in the center of our community is such a boon for me, as a gal who grew up in rural Pennsylvania, far from any major art institutions, far from being able to experience a Louise Nevelson, a Yayoi Kusama, or a Louisa McElwain, in person. Now, I could jump on the light rail and be there in 15 minutes. I became a Member as soon as I moved to Downtown Phoenix in 2008. Once you’re in the door, you fall in love. I quickly discovered Contemporary Forum, which has really accessible membership rates for young collectors. I enrolled in the 18-month Docent training program. My business, Practical Art, a Corporate Council member, commits to fundraising for the Museum through our Recycling Drive and Buffalo Girl Charity Dinner and Auction, honoring the memory of our shop’s founder, Jane Reddin, who had been a passionate supporter of the Museum during her life. As a Member, I love that I can take my time in the Museum and really use it, to take some ownership of it as a civic steward. It’s supported and shaped by us, by how we use it, so I’m happy to be an active part of that process. I can research in the Lemon Library, have meetings in Palette, attend movies and lectures in Whiteman Hall, and simply spend my time with the art. For some artworks, that’s necessary. I’m on my own schedule with my gray plastic card. Art is a vehicle for questioning, for critical thought-- you delve into the ideological struggles of another human being for a moment, and there’s the potential for you to take those questions on for yourself. That’s why I’m most drawn to contemporary art-- it can be the most challenging. With abstract work, the first line of dialogue with your viewership isn’t, “This is what I am,”, it’s “What am I?” ...and, in an information/data/advertising age when we’re always being told something, art can engage another part of our mind: the puzzling part, the curiosity part, the reaching part that stirs our sense of humanity.

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“This is a place where families can discover, appreciate and make art together.” Diane Amaral, Retired Art Educator

Member since 2012 “After retiring from teaching high school art for twenty-two years in Washington state, I finally had the luxury of time to pursue my own artistic interests. I discovered Phoenix Art Museum, where I lived close to classical art treasures and found plenty of inspiration and joy. I love the Museum. It is like a wondrous maze inside. Round one corner and I’d find another surprise which would lead me to another doorway or exhibition bursting with beauty. Over my lifetime, I’ve visited museums in Europe, Brazil, Japan…none are more inviting to me than Phoenix Art Museum. I love being a Member because I have the freedom to visit for free any time I want, with my family and grandkids. I’ve started to attend Senior Coffee Socials held once a month. It’s such an enthusiastic gathering of my peers who love art (pastries and coffee too), and love to learn about the Museum and its collections. It’s so much fun. With the rapid decline of art education in our schools, so many children are missing out on the fun of art, the creativity. Having a Family Membership gives parents and grandparents an easy, economical way to have regular access to art and developing the right-brain. Families can discover, appreciate and even make art together. It encourages young people and adults of every age to discover the artist within and find their own path. I too am on a personal quest to create my unique artistic expression this year. And, of course, Phoenix Art Museum will be one of my greatest resources.”

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“If we don’t support the arts in our community, who will?” Stephanos Antoniades and Dr. Olga Tsoudis

Members since 2002 “We first joined the Museum in 2002. At the time, we lived in Michigan, but were visiting Phoenix for job interviews. We had a red-eye flight to Michigan, so we stopped on the way at the Museum to see the Chihuly exhibit. Instead of buying two tickets, we purchased a Membership. We were hopeful we might soon live here, and it was a great deal. We moved here just a few months later. When we moved from the suburbs to Downtown Phoenix, we moved around the corner from the Museum. We can walk there. Living so close meant we could attend more art events, and part of our goal was to continue to support and add more community projects to our radar. The Museum and other cultural organizations were part of our motivation to move. We want more people to be exposed to the many activities and exhibitions. By being Members, we are helping to expose others to art and the community. It motivates you to attend all of the interesting activities and exhibits, to pop in for a short trip or a long visit without hesitation. We get a discount at The Museum Store which has quality gift items. The restaurant discount helps to. The arts give us not just something to nice to look at, but has a social message about the world, ourselves. It inspires. What’s more, supporting the Museum is part of being a localist, giving our support to local business and organizations. After all, if we don’t support our own community who will?

CUSTOMIZE YOUR MEMBERSHIP The following packages are available beginning at the Contributor level:

The Insider – Explore the Museum with behind-the-scenes events and programs. Includes Conversations with a Curator events and Behind-the-Scenes tours or talks.

DELVE DEEPER WITH THE MUSEUM’S SUPPORT ORGANIZATIONS

The Social – Engage with other Museum Members at a variety of exclusive events throughout the year. Includes invitations to all exhibition opening receptions (2-3 annually) and invitations to all Member Mixers (2-3 annually).

Get more involved! Join one of our specialized interest groups. From Arizona Costume Institute to Women’s Metropolitan Arts Council, these groups bring together individuals with shared interests in specific genres of art to learn, develop, and support the Museum. There are eleven Support Organizations in all– to find the one that’s right for you, visit them online at phxart.org/support.

GIVE THE GIFT OF ART A year of inspiring experiences and exclusive benefits, all wrapped up into one special package. Give the gift of art with a Phoenix Art Museum membership. It’s even tax-deductible. Call the Membership Office at (602) 257-2124 today.

The Reel – Enjoy our film program with special events and priority seating opportunities. Includes an invitation to a Members-only event with a film presenter, our film e-newsletter subscription containing the latest film schedules and special notices, and advanced seating opportunities for select films and National Theatre Live simulcast.

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Dottie Kobik, Monarch Events, Inc.

Chado Ralph Rucci (American, born 1957), “Motherwell” Infanta Gown, Spring 2005. Alligator leather on silk tulle, duchess silk satin. Gift of Chado Ralph Rucci in honor of the Museum’s 50th Anniversary. Photo by Ken Howie.

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Jim, Thank you for all your hard work and dedicated service to Phoenix Art Museum. You will be missed! â&#x20AC;&#x201C; Iris and Adam Singer

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Photos by by Craig Smith.

Phoenix Art Museum League WE’VE BEEN HERE SIXTY YEARS, AND THAT’S JUST THE BEGINNING. Sixty years ago, a few dedicated art lovers joined together to form Phoenix Art Museum League, committed to the success of arts and culture in this young, upstart city centered among the soaring mountains of the Arizona desert. Today, that young upstart is one of the largest metropolises in the nation, home to the largest fine arts museum in the Southwest, and Phoenix Art Museum League is still here, still committed to that original mission. We are proud to have played a key role in some of the most defining moments in nearly six decades of the Museum’s history. Today, the League directly impacts both exhibitions and education programs at the Museum through annual events that not only give back, but give others a chance to make new friends, and be inspired. Our most popular event, Arts and Flowers, fills the galleries of the museum with colorful, living interpretations of some of its most popular art work. You will never see any piece quite the same way again. Whether you are a part of a long-standing tradition of Phoenix’s art community, or just beginning to develop an interest, begin your journey with the League. We can’t wait to meet you. phxartmuseumleague.org | 602.307.2050

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flowers interpreting art Presented By Phoenix Art Museum League October 16 â&#x20AC;&#x201C; 18, 2015 PhxArtMuseumLeague.org

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Inner Circles

Enjoy unsurpassed benefits as a member of Phoenix Art Museums Circles of Support Passionate about art? Phoenix Art Museum’s giving society, Circles of Support, offers a tremendous opportunity to provide annual support to the Southwest’s premier arts destination, while making connections with other art aficionados and enjoying a wide selection of exciting, exclusive events. From national and international travel opportunities to unprecedented access to exhibitions, lectures and receptions with acclaimed artists, you’ll enjoy a new world of experiences, friends, and all the best that Phoenix Art Museum has to offer.

Benefit Levels

Each Circles’ level enjoys the benefits of a traditional Museum Membership, along with these exciting, exclusive additions. Each level receives special privileges • Admission to Circles Speaker Program lecture series

• Generous discounts on art classes, seminars, concerts and lectures

• Admission to Members’ Only exhibition previews and receptions

• Opportunity for special exhibition recognition

• Opportunity to join and participate in Support Organization events • Reciprocal general admission to 50 North American art museums • Complimentary copy of exhibition catalogs produced by the Museum • Subscription to PhxArt magazine and Circles e-mail newsletter • Unlimited free general admission for Circles members and guests • Recognition on the Museum donor board and Circles of Support roster • Discounts at The Museum Store and Palette • Appreciation dinners

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• Art and cultural travel opportunities

• Invitation to annual black-tie gala, the pARTy

Director’s Circle | Beginning at $1500 Connoisseur’s Circle | Beginning at $2500 Trustee’s Circle | Beginning at $5,000 President’s Circle | Beginning at $10,000 Founder’s Circle | Beginning at $25,000 Benefactor’s Circle | Beginning at $50,000 For more information about Circles of Support, call 602.257.2115, or visit phxart.org/support/membership/circle.

Good Business

Support your local arts organizations can mean untold benefits for your business or organization Corporate philanthropy isn’t just generous, it’s also good business. Phoenix Art Museum’s Corporate Council is an annual membership and represents some of the Valley’s most prominent—and promising— businesses and organizations, committed to investing in the future of visual arts in their communities. The annual support of our business partners sustains an ongoing program of exhibitions, education, and community outreach. In addition to the impact corporate giving has on the Museum, contributing organizations reap valuable benefits that provided an added dimension of opportunities for you and your customers.

Benefit Levels

Each Corporate Council level enjoys the benefits of a traditional Museum Membership, along with these exciting, exclusive additions. Each level receives special privileges • Free admission for employees and their families during annual Corporate Weekend

• General admission passes annually for use by your clients or employees

• Invitations to Corporate Mixers

• Exhibition sponsorship opportunity

• Invitation to Circles Presents lecture series

• Private use of Museum (dependent on level of support)

• Invitation to Members’ Only exhibition previews and receptions • Reciprocal general admission to 50 North American art museums • Recognition on the Museum donor board and Corporate Council roster • Annual listing in the Phoenix Business Journal • Discounts at The Museum Store and Palette • Opportunity to join and participate in support organization events • Subscription to PhxArt Magazine and Corporate Council e-newsletter • Unlimited access to family programming

• Circles Memberships for designated representatives

Director’s Circle | Beginning at $1500 Connoisseur’s Circle | Beginning at $2500 Trustee’s Circle | Beginning at $5000 President’s Circle | Beginning at $10,000 Founder’s Circle | Beginning at $25,000 Benefactor’s Circle | Beginning at $50,000 For more information about Corporate Council, call 602.257.2107, or visit phxart.org/support/membership/corporatecouncil.

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Find the unexpected.

The Museum Store stocks a comprehensive selection of art books, handcrafted jewelry, beautiful gifts, uncommon home décor and children’s art books and toys. Find the unexpected. Visit The Museum Store today! Every purchase supports Phoenix Art Museum.

THE MUSEUM STORE

PHOENIX ART MUSEUM / 1625 NORTH CENTRAL AVENUE / 602.257.2182 / PHXART.ORG

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Fiscal Year Ending June 30, 2014

Museum by the Numbers THE FACTS AND FIGURES OF PHOENIX ART MUSEUM BEHIND THE SCENES

Development Programs: $4,508,360 Circles & Membership: $2,015,106

Gary J. Egan, MBA Chief Financial Officer and Deputy Director of Finance & Administration Gary J. Egan brings more than thirty years experience as a financial and operations executive, with a special focus on education and arts institutions. Prior to his work at the Phoenix Art Museum, he was Chief Operating Officer at the Mariners’ Museum in Virginia and Assistant Controller at Georgetown University. With an MBA from George Washington University following his undergraduate degree in finance from Georgetown, Egan has impacted the Museum’s bottom line for the positive, creating an culture of responsible stewardship of the resources provided to the Museum. “My experiences both as a student and a professional have deepened my appreciation for the arts, and for the work that museums do, and inspired my choice to come to Phoenix Art Museum,” says Egan. “I enjoy not just my work with the financial management and operations oversight, but also the chance to spend time with the works of art in the galleries, or the diverse programming we offer.” He has enjoyed the chance to work closely with the Museum’s leadership team, the Director, and the Board of Trustees, as well as the committed colleagues of the Museum staff and its countless volunteers. “They are truly hardworking, and extremely dedicated to the mission of the Museum. We could not do it without them.”

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MUSEUM INSIDER: FINANCIALS

Earned Income: $3,018,438 Endowment / Restricted Funds: $1,795,832

Exhibitions and Education Programs: $3,786,745 Development and The Party: $2,188,962 Facilities Management and Security: $1,884,503 Operations: $1,583,599 Marketing and Public Relations: $1,215,037 Auxiliary Services: $1,024,987

Why I Give

“If I had to describe Phoenix Art Museum in one word, it would be ‘aspire.’” – David Rousseau, President, SRP and Museum Trustee

Supporting Phoenix Art Museum Since the 1980s “If I had to describe Phoenix Art Museum in one word, it would be ‘aspire.’ You simply can’t aspire to being a world-class community without world-class arts and cultural venues. While providing water and power to the Valley is one of SRP’s most important jobs, giving back to the communities we serve has been our priority for more than 100 years. SRP supports the arts because they not only help define who we are as a community but also strengthens the Valley’s economic potential, educates and entertains. Phoenix Art Museum brings beauty to our city and helps build stronger, healthier communities where our customers and employees live.”

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Art washes away from the soul the dust of everyday life. ~ Pablo Picasso Proudly supporting the Phoenix Art Museum and their efforts in connecting people to great art from around the world to enrich their lives and communities.

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We congratulate Jim Ballinger on his outstanding accomplishments as director of Phoenix Art Museum. We celebrate his amazing career and his many distinguished contributions. We wish Jim and his wife Linda continued good health and happiness in their well deserved retirement. â&#x20AC;&#x201C; Gary and Diane Tooker THE GARY AND DIANE TOOKER FAMILY FOUNDATION

The pARTy 2015 Table Hosts Really Big pARTy Table: • The Diane and Bruce Halle Foundation

Bigger pARTy Table: • • • • • • •

The Dorrance Family Foundation Ellen and Howard C. Katz Sally and Richard Lehmann Cheryl Londen Sue and Bud Selig Iris and Adam Singer / Lee and Mike Cohn Nancy and Ed White

Big pARTy Table:

pARTy Table:

• • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • •

APS / Ginger and Donald Brandt The Bazlen Family Blue Cross Blue Shield Lucia Renshaw and Bruce Covill Denise and Bob Delgado Bradley A. Denton The Ellman Foundation Erin and John Gogolak Lewis Roca Rothgerber / Susan and Richard Goldsmith Dr. and Mrs. Meryl Haber JP Morgan Private Bank / Joette Schmidt and Kent Derdivanis Judy and Sam Linhart Cheryl Londen Dr. and Mrs. Hong-Kee Ong Republic Media Dr. Edgardo Rivera and Don Rumer-Rivera Diane and Gary Tooker UMB Bank Arizona / Anita and James Patterson Charles and Meredith von Arentschildt Mr. and Mrs. William G. Way Wells Fargo / Missy and Steve Tufts

Alliance Bank of Arizona / Michele and James Lundy Pari and Peter Banko Chad Christian Law Offices of Raymond J. Slomski / Pam and Ray Slomski Ann and K. David Lindner Men’s Arts Council My Sister’s Closet Northern Trust Bank / Garrett McKnight Rose and Harry Papp Pat and Earl Petznick Phoenix Architecture / Palm Design Group / Salcito Custom Homes The Phoenix Suns / Sara and Alvan Adams Gail and Stephen Rineberg Kimberly and Steven Robson Saks 5th Avenue Adrienne and Charles Schniffner Ann Siner Angela and Leonard Singer Snell & Wilmer / Bonnie and John Bouma Jennifer Wilkinson

* As of February 20, 2015

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DONATIONS: Charlene and Alan Augenstein Linda M. Herold and Martin L. Bell Laura and Michael Bill Diane Bloomer BMO Harris Bank / Mr. and Mrs. Steve Zandpour Pat and Stanley Brilliant Laurie and Drew Brown Nikal and Robert Conti Joan D. Cremin Robyn and Michael DeBell Mary Madigan and Dania Duke Jane and Geoffrey H. Edmunds Stevie and Karl Eller Susan and Carter Emerson Barbara and Terry Fenzl Dana Lyon and Scott Fey Joanie and Rick Fox Laurie and Budd Florkiewicz Dr. and Mrs. Farid Ghebleh Angela and Jeffrey Glosser Heather and Michael D. Greenbaum Cynthia and Steve Hampton Mrs. Lee T. Hanley Melanie Hatt Billie Jo and Judd Herberger Jeanne and Gary Herberger Brittney and Chris Hess Iris Wigal and Dr. Bill Howard Errol De Jager Jane and Mal Jozoff Ellen and Howard C. Katz Margot and Dennis Knight Anabel and John Konwiser Robert LaMarr Shawn and Joseph Lampe Anita Lang

Mr. Edward A. Lesser Tochia and Stanley Levine Sharron and Del Lewis Shirley and Jerry Lewis Vicki and Kent Logan Lynne Beyer and Richard Loope Amy and Tim Louis Kristen and George Lund Janis and Dennis Lyon Betty McRae Dr. Audrey and Brian Menard Carol and Norman Miller Ronald G. Miller Andi and Sherman Minkoff Nordstrom Charitable Giving Dr. and Mrs. J.B. Payne Josefine and David Perry Kimberly and Erik Peterson Rita Noon and Tom Pozarycki Gerda and Bill Ray Roche Bobois Merle and Steve Rosskam Rebecca and Anthony Salcito Pat and Doug Sandler Chrissy and Dr. Mitch Sayare Linda Porter and George Sheer Dawn and Jay Schlott Range P. Shaw Rachel and Neal Seltzer Diana Ellis-Smith and Paul Smith Mr. and Mrs. Michael Taylor Lauri and Eric Termansen Pam and Jerry Tulman Christy Vezolles and Gilbert Waldman Mr. and Mrs. Louis A. Weil III Robin and Stephen Woodworth

UNDERWRITERS: Barbara Anderson Hensley Beverage Susan and Mark Mulzet Richard B. and Patricia E. Nolan Arlene and Richard Reitman

STEERING COMMITTEE: Cheryl Londen, Co-Chair Tess Loo, Co-Chair Ann Siner, Co-Chair Kinsey Schofield, Social Media Chair Char Hubble Lisa Pagel Kelly Persellin

MISC: Entertainment by: West Coast Music / The Cowling Band Promotional Support: Rose + Moser + Allyn Catering: Creations in Cuisine Event Operations: Dottie Kobik / Monarch Events

SPECIAL THANKS TO: • • • • • • •

American Valet ARTenders Cre8ive Event Rental Haute Photography Hilton Phoenix Suites Sound Lighting FX White House Design Studio

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Jim & Linda, have a wonderful retirement. Travel far and wide! â&#x20AC;&#x201C; Jeanne and Meryl Haber

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Why We Give

“Visiting the Museum takes me to places I will never go, to times I’ll never live.” – Susan and Richard Goldsmith

Supporting Phoenix Art Museum Since the 1970s “Visiting the museum takes me out of my day-to-day life, to places I will never go and times I’ll never live. It provides a place for the imagination and amazement, to roam through history and diverse cultures. We were both raised to understand that when you live in a community, it’s your responsibility to support its primary institutions. Healthy communities need healthy art museums as part of the cultural fabric. People need places to go to appreciate color, movement, shape, form and texture. People need places to go where they find others with whom to share their interests. Healthy art museums only happen when members and friends step up to give both now and into the future. As chair of the Planned Giving committee, I’ve been able to see the value of gifts to the Museum, both financially and in terms of art, like the world famous work by Monet in our European Gallery. Supporting the Museum broadens horizons. Every gift matters.”

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WHY I GIVE

“Beauty has always had a profound effect on the human spirit. The space in which we live should affect — An i ta L a n g us in a positive, uplifting way.”

Scottsdale, AZ

480.970.8979

www.imidesignstudio.com

/imidesignstudio

Planned Giving The 21st Century Society The 21st Century Society of the Phoenix Art Museum was created 21 years ago to help you understand how the Museum can be part of your estate plan. The 21st Century Society recognizes and honors those forward-thinking individuals who have ensured the Museum’s future by making a commitment to the future of this institution by including the Museum in your estate plans.

You can become a member of The 21st Century Society: • Bequests through a will or trust • Add the Museum as a beneficiary on your life insurance, annuity or retirement plan assets such as your 401k, IRA or Roth. • Sign up for a charitable gift annuity (minimum age 60, minimum gift $10,000) • Promising a gift of a work of art that the Museum has agreed to accept

We hope you will join us. There are no dues or fees associated with membership in The 21st Century Society. With permission, members are listed in The 21st Century roster and on the donor recognition board in the Museum’s Lobby. Members received invitations to exclusive Museum events and seminars. Most important, members of The 21st Century Society are ensuring the Museum’s standard of excellence for future generations.

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Make the Most of Your Planned Giving Leaving money to Phoenix Art Museum rewards you in many ways. It gives you a sense of personal satisfaction, and it can save you money in estate taxes. In addition to the emotional satisfaction you can derive from helping the Museum, you may also be able to realize some tax benefits.

Options for planned giving: 1. Make an outright charitable bequest in your will • Making a bequest to Phoenix Art Museum is an easy and direct way to leave a personal legacy in support of the Museum’s mission. Bequests may be unrestricted or may be designated for endowment. To include the Museum in your will or revocable trust, the following language is suggested: I give and devise to Phoenix Art Museum, a non-profit corporation, State of Arizona, located at 1625 North Central Avenue, Phoenix, Arizona 85004-1685 • Then state the amount of the gift to the Museum. This can be expressed as a percentage of the estate, as a particular amount, or the residue (remainder) of the estate may be directed to the Museum. Designating a percentage for the Museum will allow your gift to grow as your estate grows. 2. Designate Phoenix Art Museum as the beneficiary of an IRA or retirement plan • Available for IRAs or employer-sponsored plans such as 401(k)s and 403(b)s • Can be deducted for estate tax purposes

LET US THANK YOU If you have included Phoenix Art Museum in your estate plans, please let us know. We would like to thank you for your generosity, make sure the purpose of your gift is understood by the museum, and recognize you as a member of The 21st Century Society. Contact: Mr. Sandy Chamberlain, Senior Development Consultant at 602-257-2169 or Sandy.Chamberlain@PhxArt.org Pamela Mundy, Development Officer at 602-307-2004 or Pamela.Mundy@PhxArt.org

SAVE THE DATE Art and Legacy Planning Seminar Series 2015

October 27, 2015

• The charity will not have to pay income tax on the funds

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Ronald Miller

CHIEF DEVELOPMENT OFFICER

The more I think about the defining moments of Phoenix Art Museum, the more I realize how much each of the crucial moments in the history of our Museum rely upon the support and generosity of our donors. I want to thank each and every one of our donors, both now and in the years behind us, who gave so generously to make access to the arts possible for all people. It’s difficult to put into words exactly what kind of impact your contribution has, not only upon the work of the Museum, but upon our surrounding community. For every person that passes through our doors for the first time, there is a Phoenix Art Museum donor, who has given of themselves. It has not gone unnoticed. It will never be forgotten. In addition to financial contributions, I’d like to extend my gratitude for all who volunteer their time. The Museum has more volunteers than any other museum in the nation. You play a vital, crucial role in the success of our institution. We would not be who we are today without your sacrifices.

Thank You Phoenix Art Museum recognizes and gratefully thanks the following donors for their support from June 30, 2013 to July 1, 2014, who gave cumulative gifts of $500 or more to provide general operating support to Phoenix Art Museum. $200,000+ The Dorrance Family Foundation The Diane and Bruce Halle Foundation Virginia G. Piper Charitable Trust

$100,000+ Arizona Costume Institute JPMorgan Chase & Co. J.P. Morgan Private Bank Men’s Arts Council Molina Fine Jewelers Northern Trust Bank, NA *Sue and Bud Selig

$50,000+ °Roberta Aidem APS Alliance Bank of Arizona Barbara J. Anderson Arizona 5 Arts Circle Arizona Commission on the Arts *Mr. and Mrs. Drew M. Brown Contemporary Forum Cox Communications FIAT Friends of European Art *Ellen and Howard C. Katz Shawn and *Joseph Lampe Phoenix Art Museum League Carolyn D. Schulte SRP UMB Bank Arizona The Virginia M. Ullman Foundation

$25,000+ BlueCross BlueShield of Arizona Lee and Mike Cohn, Cohn Financial Group, LLC *Denise and Bob Delgado Herbert H. and Barbara C. Dow Foundation The Ellman Foundation Experience Matters AZ *Erin and °John Gogolak Heather and *Michael D. Greenbaum Bud and Gerry Grout *Dr. and Mrs. Meryl Haber Randy and *Ken Kendrick Shawn and *Joseph Lampe °Richard and *Sally Lehmann Del and *Sharron Lewis Sam and *Judy Linhart Janis and *Dennis Lyon

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SUPPORT

Macy’s Foundation Margaret T. Morris Foundation *Susan and Mark Mulzet My Sister’s Closet Mrs. Marilyn Papp Phoenix Office of Arts and Culture Lloyd and Sharon Powell Dawn and *Jay Schlott *Adam and Iris Singer *Gary and Diane Tooker Twiford Family Foundation Wells Fargo Wells Fargo Private Bank Western Art Associates

$10,000+ Anonymous (2) Milena and *Tony Astorga Linda and Jim Ballinger Bank of America *Peter and Pari Banko Craig and Barbara Barrett Uta Monique Behrens Allison and Robert Bertrand BMO Harris Bank Ms. Helen Bobince The Boeing Company Capital Group Mary Beth and Joe Cherskov Carol and Larry Clemmensen Lee and Mike Cohn Andrew and Amy Cohn *Bruce Covill and Lucia Renshaw *Joan D. Cremin Discount Tire Company Sharon and Larry Donelson The Flinn Foundation *Richard and Susan Goldsmith *Mrs. Lee T. Hanley Judith Hardes *Lila Harnett Hensley Beverage Company °Margot and Dennis Knight Susan and Bill Levine Lewis Roca Rothgerber K. David and Ann Lindner *Tim and Amy Louis *Mr. James Lundy and Dr. Michele Lundy Maricopa Community Colleges National Bank of Arizona Neiman Marcus

Dr. and *Mrs. Hong-Kee Ong *Rose and Harry Papp Jennifer and James R. Parks Peters Family Art Foundation PGA Charities/Tim Clark David E. Reese Family Foundation Mr. and Mrs. Richard Reitman Gail and *Stephen Rineberg Dr. Edgardo Rivera and Donald Rumer-Rivera The Melody S. Robidoux Foundation Fund held at the Community Foundation for Southern Arizona ºBetty and Newton Rosenzweig Saks Fifth Avenue Barbara and Jeffrey G. Schlein *Dr. Armity A. Simon M.D. and °Dr. John Simon *Angela and Leonard Singer Pam and *Ray Slomski Joan and Roger Strand Miriam and Yefim Sukhman Tarbell’s Tempe Camera Repair Incorporated Jane Wallace Thorne Irit and Jonathan Tratt Charles and *Meredith von Arentschildt Gilbert Waldman and Christy Vezolles The Walton Family Foundation, Inc. *Mr. and Mrs. William G. Way Women’s Metropolitan Arts Council

$5,000+ Accenture Mr. and Mrs. Nariman Afkhami Anderman Family Charitable Fund Anonymous Azadi Fine Rugs Betty and Frank Barber The Bazlen Family James T. Bialac Mr. and Mrs. Michael Bill Oonagh and °John Boppart Ginger and Donald Brandt *Joseph and Kathy D’Amico DOXA Arizona, LTD. DOXA Central, LLC Gammage & Burnham, PLC Globe Foundation Beverly N. Grossman Phil and Susan Hagenah The Hankins Foundation Jeanne and °Gary Herberger

Mr. and Mrs. James D. Howard Dr. Bill Howard and Iris Wigal In Focus Ricki Dee and John Jennings Jet Linx Scottsdale Johnson Bank Dr. and Mrs. Jamie Kapner °Dr. and Mrs. Andrew B. Kim Ravi and Sherrill Koopot Mr. and Mrs. Peter Larson °Gene and Cathie Lemon Tom and Jan Lewis Local First Arizona Kent and Vicki Logan Dr. and Mrs. Herbert J. Louis Marianne and Sheldon Lubar Diane and Larry McComber Mr. and Mrs. Robert H. McKee °Alice and Jesse Monongye Moreno Family Foundation Katie and Mike Mueller Richard B. and °Patricia E. Nolan Robert and Myra Page Matthew and Mary Palenica Phoenix Suns Pinal Feeding Howard and Geraldine Polinger Family Foundation Raymond James & Associates, Inc. Renaissance Phoenix Downtown Michelle and Robert Schechner Dr. and Mrs. Charlie Shaeffer Ms. Therese M. Shoumaker Ms. Ann Siner °Diana E. and Paul B. Smith Barry and Julie Smooke Snell & Wilmer, LLP Mildred N. Starr °Betty Lou Summers T.W. Lewis Foundation Patricia and Paul Taylor The Norton Foundation *Steve and Missy Tufts °Mr. and Mrs. Louis A. Weil III Dr. Judith G. and Edwin H. Wolf Zions Management Services Company

$2,500+ Gail Adams and Jay Goodfarb Sara and Alvan Adams Caralee Allsworth

Herta and Paul Amir Robert and Sydney Anderson Anonymous (6) Jerry Appell and Dr. Glenn Appell Jane Ash Asian Arts Council Banner Health Foundation Bentley Gallery Bonhams *John and Bonnie Bouma Brett Torino Foundation Robert Bulla Susan and Marshall Burman Shirley A. Burns Buse Printing and Packaging Mr. and Mrs. Dain K. Calvin Calvin Charles Gallery Cheryl and Robert Carr Richard and Ann Carr Marc and Mary Ann Cavness *Amy Clague °Mr. and Mrs. William Wallace Clements James and Edythe Cloonan Clyde Hardware Co., Inc. °Mr. and Mrs. John Cotton Robert and Vanne Cowie Ted Cunningham Michael and Robyn DeBell The De Falco Family Foundation, Inc. Mr. and Mrs. Verde Dickey Dickinson Wright Phoenix Art Museum Docents Betsy and Jim Donley Mr. and Mrs. Richard R. Donnelley III Drive Time Sydney D. Dye and L. Michael Dye Ellman Foundation Richard and Suzanne Felker Mr. and Mrs. Jeffrey N. Fine Talie and Sam Freedman Dr. and Mrs. Jack A. Friedland Mr. and Mrs. Warner Gabel, III Barbara Gant Bryan W. Gawley, M.D. Angela and Jeffrey Glosser The Maurice R. and Meta G. Gross Foundation Sam Gualtieri M.D. Steve and Marcia Guerrant Sharon Halliday and Joseph Lee Terri and Rob Hardy Delbert J. Harr

Marilyn W. Harris Paul D. and Yinglu T. Hermanson Linda M. Herold and Martin L. Bell Bob and Karen Hodges Doris and Martin Hoffman Family Foundation Ruth Ann and Tom Hornaday The Jeffrey Horvitz Foundation Mimi and David Horwitz Annie Hsu and Juan Carrillo Nancy Husband The Honorable Brenda L. Johnson Jane and Mal Jozoff °Dr. Eric Jungermann Donald and Barbara Kammerzell Ellen and Bob Kant Mrs. Sue Karatz Draga S. Kellick Ms. Margaret L. Kirkpatrick Mr. and Mrs. Alan W. Kosloff °Carolyn R. Laflin Mr. and Mrs. David J. Larcher Larsen Gallery Mr. and Mrs. Robert J. Lavinia Ellen and Philip Leavitt Christian and Jean Lester John C. Lincoln Health Foundation Carol Ann and Harvey Mackay Paul and Bets Manera Roger and Victoria Marce °Paul and Merle Marcus Mrs. Sandra Matteucci Jinx McCreary Tahnia and Jeffrey D. McKeever Jean and *Jim Meenaghan James and Ana Melikian Arthur Messinger and Eugenie Harris Leonard and Mardelle Mikus Sherrell Miller John and Carolyn Miller MJ Insurance Sarah and Hiram Moody Morell & Associates

Marty and Bill Morgan °John H. Morrell Bill and Janelle Nebeker Fred and Linda Nachman Nelson Barnum Interiors Mark Nemschoff and Barbara Crisp Connie and Gene Nicholas Stuart and Carol Nierenberg Sarah Nolan and Mayree Nolan Osborn Maledon, PA John J. Pappas Anita and *James Patterson Dr. and Mrs. J.B. Payne Kathryn and William Petsas PHX Architecture Howard and Dilys Popper Practical Art, LLC Quarles & Brady, LLP RDM Properties, LLC Cathy and Tom Reahard Lynn and Herb Rigberg Robert Burg Design Rosalind and Lew Robinson Ms. Kim Robson Roche Bobois Vincent and Janie Russo Jana and Charles Sample Jacqueline Schenkein and Michael Schwimmer Jacqueline and Paul Schulz Scottsdale League for the Arts Larry Seay and Barbara Walchli Paula and Arlie Sherman Charles and Rowena Simberg Diane and Jay Simons Mr. and Mrs. Richard Snell Beth and Robert Solem Bud and Judy Stanley Mrs. Barbara Steiner °Betsy and Bruce Stodola Howard and Donna Stone Nancy O. Swanson Ms. Marci Symington

Mr. and Mrs. Michael Taylor Robert and Kay Terkhorn Three Desert Winds Tia Foundation William C. Torrey °Fred and Mary Tucker Mrs. Betty Van Denburgh Venue Projects LLC Versant Capital Management Judith Washor William Weese, M.D. Dian and Jeffrey Weisman Trudy and Steven Wiesenberger Mildred B. Williams Jack and Marguerite Wilson Ronald G. Wilson and Bonnie Naegle-Wilson Wiseman and Gale Interiors Mr. and Mrs. Stephen S. Woodward Stephen and Robin Woodworth Worksbureau Dr. and Mrs. Delwyn J. Worthington Dr. Anthony T. and °Eileen Ong Yeung Mary L. Zicarelli

$1,500+ Judy Ackerman and Richard Epstein Dr. Dan and Miriam Ailloni-Charas Mr. and Mrs. Bert Alanko Makenna and Mike Albrecht Benny and Janet Alon American Valet Company, Inc. Megan and John Anderson Angelic Grove Anonymous (6) Arizona Bank & Trust Lon and Ellen Babby Judson and Nancy Sue Ball Lisa and Steve Banen °”E.G.” and Carol Barmore Nadine Mathis Basha Gay and Ron Baukol Dr. Ralph and Marlene Bennett

Rosalie and Dr. Richard Besserman °G. Peter and °Regina Bidstrup Jim and Connie Binns Fashion by Robert Black Rachel Wohl Blank Marshall and Dale Block Matthew Boland Mrs. Cerelle Bolon Nancy Williams Bonnett Herb and Betty Bool David Bornemann Mr. and °Mrs. August W. Boss Nancy and Joe Braucher Linda H. Breuer Nancy and Chuck Brickman Stanley and Patricia Brilliant Eleanor M. Brockhurst Dr. Michael F. & Elsie A. Brodkin Charitable Trust Eric Bron James E. Brophy Sue Bunch Marilyn Burgy David and Kristina Butler Rhett and Kay Butler Mary Lee Cakos Jennifer and Chip Carmer Judge and Mrs. Earl H. Carroll Deborah G. Carstens Katherine and Charles Case Iris Cashdan-Fishman Mr. and Mrs. Tom Chauncey, II Maureen and John Chestnut Jill Christenholz Anne and Fred Christensen Michael and Kathleen Christodolou Marilee and David Clarke Wes and Julie Clelland Jim and Maria Cockrum Don and Susie Cogman° °George and Mandy Cohen Elaine and Sidney Cohen

Bruce and Jane Cole Joe C. Cole Cole-Belin Education Foundation Mary and Gary Contreras Deborah and Richard Cookson °Joyce Cooper °Charles J. Coronella Courier Graphics Corporation Mary Anne and Richard Cree Libby Worsley Crouch Mr. and Mrs. Scott Curtis Matt Dallas and Blue Hamilton Mr. and Mrs. Alfred D’Ancona Mr. and Mrs. William J. Daub, III Nancy L. Davis Pam Del Duca Joann and Paul Delaney Luino and Margaret Dell’Osso JoAnne Doll Ellen Donat and Alan Solomon The Downtown Chamber Series Shelley A. Duane Robert and Bella Duffy Robert and Peggy Dunn Dr. Michael Dupuy and Mrs. Shelley Dupuy Kathleen and Robert Duyck Mr. and Mrs. Geoffrey H. Edmunds Mary and Jeff Ehret Judith and John Ellerman Randy L. Ellexson Gil and Stella Exler Jill Faber and Gary Suttle Matt and Michele Feeney Mark and Diana Feldman Harve A. Ferrill Katalin Festy-Sandor Noel and Anne Fidel °Jack Fields, III Peter Fine Lawrence I. Finkel George and Ann Fisher Alan Fitzgerald and Kaitlyn Fitzgerald

But there is only one Cre8ive Event Rentals.

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Call us to personalize your event today! 480.840.0202 www.cre8iveevents.com SUPPORT

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Sue Fletcher Doris and Mike Flinn Jo and John Flittie Colin R. Floyd Dr. Stephen and Madeleine Fortunoff W. Franz and R. Wirthlin °Mrs. Donald F. Froeb Peg and Dick Fry Michael Geddes Allison Gee Megan George Judith Regnier Getch Paul and Susan Gilbert Sara and Marvin Goldberg Dr. David and Joan M. Goldfarb Alan and Elaine Goldman Goodmans Interior Structures Frank and Betsy Goodyear Jan and Dick Govig Mr. and Mrs. Malcolm J. Gowen, Jr. Laura R. Grafman Karen and James Grande Mr. and Mrs. James E. Grier Mark Gross The Harold and Jean Grossman Family Foundation John and Sally Gushee Jackie and Larry Gutsch Tracy L. Haddad Haddock Stanton Foundation Karen and Roger Hale Roberta D. Hall Meighan Harahan Ms. Ashley Harder Hazel Hare Dr. Oliver and Sharon Harper Melanie Hatt Lexine Hebets Joan P. Heller Maxine Henig Mrs. Samuel Henry Billie Jo and Judd Herberger

Alexis M. and Mike Hill Cheryl J. Hintzen-Gaines Lori and Howard Hirsch Lynda and Arthur Horlick Hospice of the Valley Mr. and Mrs. Mark E. Howard Kathy Hu Char and William Hubble Betty Hum Janis Provisor Jewelry Millicent M. Jones Gigi Jordan and Bob Patterson Jane and Mal Jozoff Dr. Norma F. Kafer and Mr. James Gordon Lynn and Larry Kahn Nancy and Mark Kartub Ruth R. Kaspar Carol and Kenneth Kasses Hamilton and Ana Keddie Brian and Carol Kenney Kathy and Fred Kenny David and Susan Kessler Carolyn Refsnes Kniazzeh Dottie J. Kobik John and Anabel Konwiser James and Ina Kort Agnes T. Lardizabal Marilyn Larson Latin American Art Alliance Bruce and Jane Lawson Mr. and Mrs. Tom Lehman Mr. Robert P. LeMarr Mr. Edward A. Lesser Thomas S. and Sheri A. Levin Stanley and Tochia Levine Ed Lewis and Kathy Harris Gerald and Shirley Lewis Linda and Dick Lewis Eleanor Light Danny D. Liu and Karen H. Lin Melissa Rein-Lively and Jared Lively Mary Lofgren

Roman and Cindy Lopatynski Dr. and Mrs. Robert F. Lorenzen John Lucking Tracey and Larry Lytle Ginnie Maes Walter H. Magen Mr. and Mrs. Murray Manaster Patrick and Dorothy Mather Gregory and Anita Mayer Mim J. McClennen Carol and °Howard McCrady Janet and John Melamed Gregory and Emma Melikian Meritage Homes Construction, Inc. Jolyn and Earl Miller Naomi Caras-Miller and Alvin H. Miller Norman and Carol Miller Ronald G. Miller Doris and Eliot Minsker Joy and Jerry Monkarsh Family Foundation Mike and Cindy Moore Marta Morando and Bill Moio David and Judee Morrison The Nason Family Foundation Theresa Naujack Lynn S. Neuville Jeff and Holly Newman Priscilla and Michael Nicholas Barbara and Dick Nichols Laurance B. Nilsen Mr. and Mrs. Robert Norris Doris and John Norton Kenneth O’Connor and Deedee Rowe Ginger and Dennis O’Neal Mimi Ostrander Barbara and Donald Ottosen L. Roy Papp & Associates Ms. Jody Pelusi Perkins Coie Foundation Janet and Malcolm Persen Larry and Paula Petrowski Helen Jacobsen Pierson

Arnold Portigal Tom Pozarycki Helene and Joseph Presutti Becky Pruitt Mrs. Maritom K. Pyron Teresa K. Quale Julia Ramult Rancho Solano Preparatory School Joanne and James Rapp Patrick and Michelle Ray Donna Reining David and Suzie Restad Betsy Retchin Ida Rhea Amy Rice Sunnie Richer and Roger Brooks Karen and Doug Riley Riviera Broadcasting LLC Genevieve D. Roach Thomas W. Roberts and Nicole Lee Mrs. Constance T. Rodie Lois Rogers Roopho Realty Elaine Rose Mr. and Mrs. Steven L. Rose Merle and Steve Rosskam Dr. Sanford and Marcia Roth Diane Roush Royal Palms Resort and Spa Mary Ell Ruffner Sandra and Earl Rusnak Elaine Ryan Mary Ann Ryan Salon Estique Santa Barbara Catering Company Judi and Syd Saperstein Stella and Mark Saperstein Claire and Henry Sargent Ms. Christina Sayare Janice C. Schade Beth Schermer and Sam Coppersmith Charles and Adrienne Schiffner

Carol and Randy Schilling Ginger Schuff Fred and Arleen Schwartz Arlene and Morton Scult Mary and Stanley Seidler Dr. Miriam Sell John and Patricia Seybolt Mr. George F. Sheer F. William Sheppard and Range P. Shaw Dr. and Mrs. Donald Sherline Elaine and Robert Shower Mavis Shure and Lanny I. Hecker Diane L. Silver and James R. Condo Michael Siurek Kurt A. Slobodzian Mr. and Mrs. Leslie H. Small Donald and Dorothea Smith Marilyne A. Smith Mr. and Mrs. Michael Smith °Charles and Marron Snead Frank L. Snell Paula and Elliott Solomon Southwest Gas Corporation Southwest Rubber and Supply Co., Inc. Dr. and Mrs. Robert Spetzler Lou and Larry Stein Mr. and Mrs. Richard D. Stern John and Ellen Stiteler Paula and Jack Strickstein Mr. and Mrs. Ben Strobl Steve and Kathleen Taddie Lois and Maury Tatelman Mrs. Janice Tekofsky Robert and Patricia Ternes Anne and Steve Thomas Fritz and Kathy Thomas Fred and Gail Tieken Richard Tollefson and Marc Kellenberger Total Wine & More Terry and Bill Tucker Pam and Jerry Tulman Pat and Phil Turberg

[Arizona Summit Law School Class of 2015] [Arizona Summit Law School Class of 2015]

[Arizona Summit Law School Class of 2016]

STAND OUT. A legal education built around the needs of students is at the heart of Arizona Summit Law School. Flexible schedules on a full or part-time basis, including evening hours, are just the beginning of a student-centric educational career. By embracing the diverse backgrounds and experiences of our students we can adapt to the needs they require to realize their success, such as obtaining a law degree in two years. Chart your own path to a law degree by visiting our downtown campus or AZSummitLaw.edu For more details about our school’s on-time graduation rates, job placement rates, the median debt of students who completed the program, student tuition and other costs, and other important information, please visit our website at AZSummitLaw.edu.

One North Central Ave · Phoenix, AZ 85004 602.682.6800

Agency: Off Madison Ave · 5555 E Van Buren St #215 · Phoenix, AZ 85008 · (480) 505-4500 · Fax: (480) 505-4501 • Contact: Kelsey Bedore • Contact Email: Kelsey.Bedore@offmadisonave.com • Contact Phone: 480-505-4488 • Client: ASLS • Job #: 15-ASLS-0109 Phoenix Art Museum Commemorative • Trim Size: 8 in w x 4.75 in h • Color: 4C SUPPORT

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Jacquie and Merrill Tutton UBS Vicki and Vernon Vaughn Bob E. Vincent Mr. and Mrs. Christopher H. Volk Joan and James von Germeten Bob and Nina Wadsworth Gloria Wagner Janis S. and Paul F. Walsh Mrs. Patricia A. Walsh Charles and Vonnie Wanner Annie H. Waters and Robert A. Ryan Michael L. Watts Mr. and Mrs. Charles Watts Dennis and Patti Jo Weiss Ali and David West *Steve and Ann Wheeler Bob and Pat White Mr. and Mrs. Edward White Wick Pilcher, The Division of U.S.I. Linda and Sander Wiener Gretchen M. Cherrill and *Bradley D. Wilde Gretchen and Dick Wilson Mr. Robert E. Withers Georgia Ray and R. Stephen Wolfe Carole Wooldrik Ruth Worden Randy Wright Joyce R. Young Micki and Paul Zatulove Barry Zemel Judy and °Dr. Sidney Zuber

$500+ Anonymous (2) Barbara Barnes Martin Baumrind Mr. and Mrs. William Bombeck David Bornemann Dr. and Mrs. Rex Brewster Frank and Diane Carnella Celebrity Fight Night

Nicholas and Eleanor Chabraja Marianne and Joe Cole Drs. Bobbi and Barry Coller Jon and Alicia Crumpton Kathryn and William Cullen Mr. and Mrs. Ronald Denk Martha Reed Dickerson Howard and Amy Dinet Judith C. Engelman, M.D. and Suzanne Schafuri David and Virginia Foster Ms. Peggy Frahm and Ms. Nancy Hilpert Shelley and Golda Friedstein Robert and Christine Gale Mr. and Mrs. Charles Goldstein, M.D. Hair Again Madeline Halpern Neal Hansen and Sally Else Jeanie M. Harlan Troy L. Harling and Tabitha Harling Alfred and Ingrid Lenz Harrison John and Martha Hayes The Head Family Foundation Matthew Heil Ms. Mary Beth Herbert and Mr. Cecil Penn Jan and Peter Herwick Sue and Morry Himmel Tom and Sue Hoecker Horowitch Family Foundation/The Mr. and Mrs. Mark E. Howard Mr. and Mrs. Roy M. Jacobson Harriet and Sheldon Kaplan Kathleen Karam Ms. Anne Kleindienst Jeffrey and JoAnn Kovan Leah Koverman William Kram and Diane Shapiro Sharon and Andy Kuscsik Joe and Kathay Ladrigan Agnes T. Lardizabal, M.D. Frances and Gregory Lauver Nils and Jacklin Lindfors Dr. Marigold Linton and Dr. Robert Barnhill

Matt and Lynn Luger Mr. and Mrs. Daniel G. Maloney Ann and Paul Markow Mrs. Donald F. McCann Daniel T. McKeithan Jr Charitable Lead Annuity Trust Thomas and Nanabah Melfi Bob and Belle Merwitzer Monique and J.P. Millon Marta Morando and Bill Moio Pat and Leslie Neal Peter and Sarah Novak Dr. and Mrs. Paul Nykamp Jon and Dot Oscher Palm Springs Art Museum Tom and Carol Quijada Karen Rapp Mr. and Mrs. Lynn Raskin Jerry D. Rumley and Pamela Campbell Nancy M. Russell Monica Sanchez Mr. and Mrs. Irv Schauer Joseph Scherzer Nancy and Jeff Schriber Tim and Kristin Sharp Mr. and Mrs. Robert Shull Jeremy Smith Andrew and Ken Speakes Stupp Bros. Bridge and Iron Co. Foundation David and Diane Sulak Peter Sysyn Richard and Carolyn Szatkowski Robert and Patricia Ternes Mr. and Mrs. Frank D. Trznadel Bari Turner, M.A. and Jill Kipnes Mr. and Mrs. Jon O. Underwood Kristen and John Van Denburgh Elizabeth Vincent and Norm La Zar Marjorie M. Waggener Mr. and Mrs. Jimmy Walker Ann and Michael Wall David and Donna Ward

Robert Warnicke and Cynthia Gonzales Lavonne Watkins Mr. and Mrs. David J. Watson Carol J. Wilson Jennifer Winssinger Ann and Van Wolf Zaplin Lampert Gallery Mrs. and Dr. Rachel Zemer

Gifts-In-Kind $100,000+ The Arizona Republic Cox Communications

$50,000+ Salon Estique

$25,000+ Accelerent AZ Lifestyle Magazine The Business Journal Harkins Theatres M Catering by Michael’s Neiman Marcus The Phoenician Reel Men Rentals US Airways/American Airlines

$10,000+ Airpark Signs & Graphics Anonymous Arizona Taste Catering Corporate Presentation Network Creations in Cuisine Catering MJM401K Pearson & Company Phoenix New Times Tarbell’s

$5,000+ Anonymous Art Solutions & Installations, LLC Bruce Brown Catering Copper Square Kitchen Fabulous Food ON Media The Red Book & azredbook.com Santa Barbara Catering Company

$2,500+ Brandon Sullivan Photography Christie’s CORT Event Furnishings Sotheby’s

$1,500+ Buse Printing and Packaging Capitol Litho Celebrations in Paper Golfsmith Province at the Westin Phoenix Downtown The Rim Golf Club Mr. and Mrs. Edward White

$500+ Kick Ass Kakes Jerry Lippman Total Wine & More °Current Trustees *Past Trustees

Special Thanks to the Independent Woman Luncheon 2015 Committee Pictured left to right: Lenni Griego, Sara Adams, Jane Jozoff, Matthew Boland, Denise Delgado, Amy Cohn. Not pictured, Michael Fergusons

SUPPORT

133

Phoenix Art Museum Employees 2014–2015

Pemberton, Jacob ........... Supervisor, Security

Amada Cruz .................. The Sybil Harrington Director

Furlong, William .............. Gallery Attendant

James K. Ballinger .......... Director Emeritus

Gates, Robert .................. Preparator

Pickering, Braden ............ Control Room Operator

Geanetta, Katherine ........ Visitor Services Associate

Ramos, Sasha ................. Gallery Attendant

Adame, Christian............. Associate Curator, Education

Gerst, Mara..................... Grants Officer

Rando, Maribel................ Gallery Attendant

Adams, Lauren................ Assistant, Facility Rental

Gochoel, Amy.................. Security Supervisor

Restad, David .................. Exhibition Designer

Allen, Celeste .................. Gallery Attendant

Goodrich, Greg ................ Staff Accountant

Reynolds, Ashley ............. Gallery Attendant

Allen, Perry ..................... Coordinator, Film Program

Greenberg, Jennifer ........ Assistant to Deputy Director

Roberts, Evan ................. Web and Social Media Administrator

Alston, Leesha ................ Registrar

Hagan, Jim ..................... Facilities Supervisor

Rodriguez, Stephanie ...... Gallery Attendant

Amato, Gina .................... Visitor Services Associate

Hagarty, Casey................ Curatorial Assistant, Fashion Design

Sadvary, Rachel .............. Assistant Registrar

Anchondo, Gabriela ......... Gallery Attendant

Hart, Ashley .................... Gallery Attendant

Samsill, Matthew ............ Associate Corporate Relations Officer

Ancich, Gianna ................ Bartender

Heller, Lois ...................... Library Assistant

Sand, Joel....................... Gallery Attendant

Ancich, Marissa .............. Bartender

Herrick, Rebecca............. Gallery Assistant

Schwemm, Laura ............ Supervisor, Security

Anderson, Hannah .......... Gallery Attendant

Howland, Abbie ............... Membership Assistant

Scott, Alexander.............. Security Supervisor

Arceneaux, Bobbie .......... Security Officer

Hudson, Leilani ............... Membership Coordinator

Senf, Rebecca................. Norton Family Curator, Photography

Armijo, Charles ............... Gallery Attendant

Jordan, Sally ................... Control Room Operator

Sewell, Dennita ............... Curator, Fashion Design

Ayala, Joel ...................... Gallery Attendant

Kaplan, Wayne ................ Gallery Attendant

Shaw, John ..................... Assistant to Deputy Director

Baker, Janet PhD ............ Curator, Asian Art

Kappes, Cathy................. Sales Associate

Smith, Jerry PhD.................Curator, American and Western American Art

Ball, Ruby ....................... Gallery Attendant

Katsuta, Airi .................... Gallery Attendant

Smith, Leland .................. Lead Sales Associate, Retail Sales

Barnella, Jennifer ............ Manager, Retail Sales

Kelly, Judith .................... Sales Associate

Soares, Carlotta .............. Director, Marketing and Public Relations

Bellavia, Henry ................ Preparator

King, Ann ........................ Sales Associate

Solomon, Patricia ............ Gallery Attendant

Benkowski, Rachel .......... Associate, Visitor Services

Klass, Briana................... Gallery Attendant

Souza, Cori ..................... Event Sales Coordinator

Blake, Kathryn................. Gerry Grout Director of Education

Klick, Samantha .............. Executive Assistant to the Director

Sparks, Michelle ............. Program Specialists

Bochnovic, Michael ......... Gallery Attendant

Koeneman, Eugene ......... Chief Preparator

Stark, Katelyn ................. Gallery Attendant

Bohannon, Jaymee.......... Visitor Services Associate

LaBarge, Patricia............. Gallery Attendant

Stewart, Tamara.............. Manager, Membership and Development

Bohr, Debbie ................... Associate, Visitor Services

LaBarge, Shain ............... Gallery Attendant

....................................... Information Services

Bond, Diane .................... Gallery Attendant

Lake, Kenneth ................. Gallery Assistant

Sykes, Brad .................... Gallery Attendant

Brown, Melissa ............... Coordinator, Development

Levin, Carolyne ............... Visitor Services Associate

Sykes, Kimberly.......................Coordinator, Development Information Systems

Brown, Yvette.................. Gallery Attendant

Lieb, Stephanie ............... Public Relations Manager

Tamondong, Merlevic ...... Associate, Visitor Services

Caldwell, Kali .................. Sales Associate, Group Sales

Lopez, Vida de Jesus....... Gallery Attendant

Thompson, Sean ............. Security Officer

Call, Amy ........................ Gallery Attendant

Lowery-Nuñez, Christine . Human Resources Manager

Thon, Amy ..........................Assistant, Development Information Systems

Chamberlain, Sandy ........ Senior Consultant, Development

Lulic, Clarita.................... Gallery Attendant

Totemchochaiyagran, Jennifer Coordinator, Volunteer Services

Chavez, Alicia.................. Associate, Visitor Services

Mahaffey, Spencer .......... Sales Associate

Tso, Marcus .................... Gallery Attendant

Chavez, Rodrigo .............. Gallery Attendant

Marmor, Heather ............. Special Events Coordinator

Tucker, Star .................... Gallery Attendant

Chevalier, Gabriella ......... Gallery Attendant

Martin, Lori ..................... Gallery Attendant

Tyler, Chrystal ................. Gallery Attendant

Cooper, Thomas .............. Maintenance Technician

Masten, Andrew .............. Gallery Attendant

Valdez, Laelle .................. Gallery Attendant

Cortez, Samantha ........... Bartender

Matchette, Sarah ............ Visitor Services Associate

Walters, Kari ................... Assistant, Registration and

Cox, Ana ......................... Coordinator, Visual Resources

McDaniel, Scott .............. Controller

....................................... Collection Database

Davidson, Vanessa PhD ... Shawn and Joe Lampe Curator,

McDowell, Sabrina .......... Visitor Services Associate

Warner, David ................. Gallery Attendant

....................................... Latin American Art

Medrano, Javier .............. Gallery Attendant

Watt, Yaira ...................... Bartender

Denman, Nicholas ........... Gallery Attendant

Milesic, Jelena ................ Receptionist

Weintraub, Jenny ............ Gallery Attendant

Devlin, Rebecca .............. Gallery Attendant

Miller, Ronald .................. Chief Development Officer

Wenzel, Laura ................. Associate Registrar

Dixon, Jessica ................. Gallery Attendant

Mohr, Gwen .................... Gallery Assistant

Whitton, Kelly .................. Program Manager, Mens Arts Council

Dowd, Kelcie ................... Gallery Attendant

Mundy, Pamela ............... Development Officer

Williams, Keith ................ Manager, Information Systems

Devlin, Brian ................... Manager, Beverage

Muñoz, Gabriela .............. Curatorial Assitant, Modern and

Winkelstern, Jamie.......... Gallery Attendant

Eberle, Kelsey ................. Program Assistant

...................................... Contemporary Art, Latin American Art

Wirta, Erin....................... Gallery Attendant

Egan, Gary ...................... Deputy Director, Operations

Nagy, Sarah .................... Accounting Assistant

Wright, Sylvia .................. Retail Sales Associate

Ellsworth, Chelsea........... Gallery Attendant

Najarro, Roy .................... Gallery Attendant

Engstrom, Michael .......... Gallery Attendant

Nersesian, Abigail ........... Librarian

Eskandari, Rachel ........... Gallery Attendant

Norris, James ................. Security Officer

Essex, Tracey .................. Bartender

Oberhansly, Steven ......... Director, Facilities Operations

Estes, Amy ...................... Supervisor, Visitor Services

O’Hare, Vincent ............... Administrator, Information Systems

Estefan, Emily ................ Sales Associate

Oland, Douglas................ Preparator

Fellows, Joseph .............. Assistant to Chief Development Officer

Paquet, Nathan ............... Bartender

Ferbrache, Anne Elise ..... Gallery Attendant

Paulk, Heather ................ Assistant Security Manager

Frank, Leslie ................... Gallery Attendant

Peeck, Andrea ................ Control Room Operator

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IN MEMORIAM Phoenix Art Museum honors the contributions of those employees who passed away. Their contributions will not be forgotten. William Selby, Manager, Security

Why I Give

“Art is a universal language.” – Joseph Wojcich, President, Tempe Camera and TCR Photo Imaging

Supporting Phoenix Art Museum Since 1998 “At Tempe Camera, we’ve been a proud supporter of Phoenix Art Museum since 1998. We first got involved with the Museum thanks to some gentle persuasion by then-director Jim Ballinger, but to be honest, gentle persuasion was all we really needed. It means a lot to be able to give financial support to something we know is a good cause. Our business is all about keeping the art and science of photography alive, and that means supporting the institution that brings the best of photography to the Valley. Art is a universal language that connects all of us. It’s important to keep it flourishing throughout our community.”

WHY I GIVE

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Supporting the Arts in our Community The law firm of Lewis Roca Rothgerber has a long tradition of supporting the arts in our communities. Co-founder Orme Lewis, a long-time patron of the Phoenix Art Museum, gifted over 1,000 works to the Museum. Today, Lewis Roca Rothgerber is proud to continue our support of the museum.

“Saguaro” Artist: Woody Payne. From the LRR Art Collection.

LRRLaw.com

602.262.5341

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All of us have in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. We are tied to the ocean. And when we go back to the sea – whether it is to sail or to watch it – we are going back from whence we came. – John F. Kennedy

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Bradley A. Denton Family Trust

White House Design Studio 4001 N. 24th St., Phoenix, AZ 85016 NOW White House Flowers at UNION Biltmore Fashion Park 2502 E. Camelback Rd. Phoenix AZ 85016 ph:602.957.0186 • fax:602.956.0463 info@WhiteHouseFlowers.com www.WhiteHouseFlowers.com Photography by Melissa Jill Photography

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Why We Give

“I have been very fortunate to have lived in Arizona for 40 years.” – Denise Delgado “This community has been a special place for me and my family for many reasons, chief among them are the cultural institutions that enrich our lives. Today we live in a world where these institutions simply would not survive if it were not for philanthropy. My particular passion is for contemporary art, and I am committed to doing everything I can to insure that the Phoenix Art Museum, our premier art institution, continues to grow and thrive. The Phoenix Art Museum is an integral part of our community. It not only plays a critical role in enhancing the quality of life within our community, it also helps to define who we are as a community.”

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WHY I GIVE

ALL ARTISTS SHARE A COMMON IDEAL—TO ENRICH THE LIVES OF OTHERS.

WE SALUTE PHOENIX ART MUSEUM.

Linda, Thank you for your support, wisdom, counsel, enthusiasm, humor and love. All my love, Jim

Chris Rush, John with White Pumpkin,2002 Conte crayon on paper Collection of Phoenix Art Museum, Museum purchase with funds provided by Timothy and Amy Louis, Miriam Sukhman, and Bradley Wilde

Phoenix Art Museum 1625 North Central Avenue Phoenix, Arizona 85004-1685

Andy Warhol: Portraits

PhxArt Magazine & The Journal Editorial Staff phxart.org | @ phxart

TALK TO US

HONORARY PUBLISHER

Barbara Anderson

Need more information?

EXECUTIVE EDITOR

DESIGN AND LAYOUT

Looking to get involved?

Doris Ong

PS: Studios

Give us a call.

(602) 257-1222 (602) 257-2124 (602) 307-2009 (602) 257-2115

24 Hour Information Membership Office Volunteer Office Circles of Support

(602) 307-2011 (602) 307-2028 (602) 307-2029 (602) 307-2040 (602) 307-2079 (602) 307-2080 (602) 307-2007 (602) 257-2175 (602) 307-2050 (602) 307-2070 (602) 257-2161

Arizona Costume Institute Asian Arts Council Contemporary Forum Friends of European Art In Focus Latin American Art Alliance Men’s Art Council Phoenix Art Museum Docents Phoenix Art Museum League Western Art Associates Women’s Metropolitan Arts Council

MAGAZINE EDITOR

LEAD ADVERTISING SALES ASSOCIATE

Nikki DeLeon

Matthew Samsill

DIRECTOR OF PRODUCTION

ADVERTISING SALES ASSOCIATE

Carlotta Soares

Ty Fishkind

CREATIVE DIRECTOR

CONTRIBUTING CORRESPONDENT

Andy Cruz

Ana Cox

PHOTOGRAPHY

STYLE & BEAUTY DIRECTOR

Darrylee Cohen, Haute Photography Brandon Sullivan, Sullivan Photography Dan Vermillion, Vermillion Photo Michael Lundgren Ken Howie Bill Timmerman

Ronald G. Miller

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Welcome, Amada Cruz, the new Sybil Harrington Director for Phoenix Art Museum. We look forward to an exciting future for the Museum. – Meredith and Charlie von Arentschildt

Simplicity is the ultimate sophistication – Leonardo da Vinci Making Sophisticated Technology Simple. For over 20 years, we’ve created sophisticated Internetbased tools and cloud technologies for well-known businesses and organizations. We can help you with your next masterpiece today! www.cyberitas.com | 602.381.0123 | info@cyberitas.com Some of our clientele: Arizona Concours D’Elegance, Better Homes & Gardens, Century 21, Copperstate, Phoenix Art Museum

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When we see great art, it can spark our creativity and imagination and helps us see the world in a different way.

Wells Fargo celebrates Phoenix Art Museum. wellsfargo.com

OUR MEMBERS GET THE BEST OF US. Explore the Museum anytime without paying admission. Engage with others at Members-only events. Enjoy priority access and special discounts all year long.

1625 North Central Avenue Phoenix, Arizona 85004 phxart.org | @phxart

Become a Member Today! Call (602) 257-2124 or visit us online at phxart.org for more details. © 2013 Phoenix Art Museum. All Rights Reserved. LEFT to RIGHT: Ed Mell, Sweeping Clouds, 1989. Oil on canvas. 53” h x 53” w. Museum purchase with funds from anonymous donors. Krishna and Radha under an Umbrella, Kangra School, 19th century. Ink and color on paper. 8.375” h x 6.375” w. Gift of George P. Bickford. Robert Henri, The Laundress, 1916. Oil on canvas. 36” h x 29” w. Gift of Mr. and Mrs. Norman Hirschl.

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the museum store WARHOL STORE HAUL

See the exhibition, and then stop in for a piece of Warhol history. In honor of the legendary artist, our special exhibition store will feature exclusive, unique souveniers of this once-in-a-lifetime exhibition.

DEEP DISH

Piece together Warhol’s iconic portrait of Marilyn

$15.95 | $14.35 Member Price

$18.99 | $17.09 Member Price

The iconic Pop artist sometimes presented himself as thin and superficial, claiming there was little behind the surface of his paintings. This vividly illustrated book penned by Catherine Ingram, delves beneath that surface, exploring the life of Warhol from humble childhood in Pittsburgh to the heights of success in his chaotic Manhattan world.

Even dads will enjoy assembling this special edition Andy Warhol: Marilyn 300-piece jigsaw puzzle, based on Warhol’s arresting portrait of Hollywood legend Marilyn Monroe. Printed with non-toxic soy inks on 90% recyclable materials, this is one the whole family will enjoy.

PIECE SOUP

Puzzle out Warhol’s iconic Campbell’s Soup Cans $19.99 | $17.99 Member Price

Warhol skyrocketed to international recognition following his 1965 series depicting the everyday familiarity of Campbell’s Soup cans. Bring home a version of your own with this 200-piece jigsaw puzzle made from 90% recycled paper, packaged in a sturdy canister.

’HOL DOLL

$19.99 | $17.99 Member Price

Trademarks Licensed by Campbell Soup Company. All Rights Reserved ©®™ The Andy Warhol Foundation for the Visual Arts, Inc. Marilyn Monroe™; Rights of Publicity and Persona Rights: The Estate of Marilyn Monroe, LLC

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THE MUSEUM STORE

GENTLEMEN PREFER PUZZLES

This is Warhol examines the artist to new depths

Bring Warhol home with this Little Thinker doll

Why settle for fifteen minutes when you can have endless fun with your own Andy Warhol Little Thinker doll? Cool and hip as they come, this Warhol doll stands 12 inches tall, dressed in a red blazer, artsy black turtleneck, large red eyeglasses and that signature unruly hair.

FLASH MOD

Pop Cam produces Warhol-style portraits $13.99 | $12.59 Member Price

Become the Andy Warhol of amateur photography with Pop Cam. Producing photos that mimic the saturated color palettes of Warhol and Lichtenstein, one snap of the Pop Cam takes four photos in the span of a second and preserves them in four different hues on one print. Instructions included. Uses 35mm and has no flash.

FASHION FORWARD

Pop-inspired jewelry is a nod to 60s art and style Starting at $150.00 | Starting at $135.00 Members

Add some “Pop” to your wardrobe with our selection of Pop Art-inspired jewelery, inspired by artists like Warhol. With many sizes, styles and colors available, there is something unique and meaningful for everyone. Materials vary.

The Last Word The Way It Was For Jim, From His Staff The year was 1974. Amidst the scandal of Watergate, Richard Nixon resigned from office. Hank Aaron tied Babe Ruth’s home run record. The Way We Were, Barbra Streisand’s schmaltzy song of reflection and fond memories, climbed to number one on the charts. Foreman and Ali slugged it out in the heat of the Congo. And that year, James K. Ballinger, 25 years old and fresh from grad school, came to a small art museum in Phoenix, still something of a young upstart of a city in those days. He didn’t come with the goal of staying here for the next four decades. But our lives form a mosaic of what we expect and what comes to pass. And that’s exactly what he did. Today, America is in tumult over issues of immigration, same sex marriage, the rebuilding of an economy ravaged by recession and a decade-long war on two fronts in the Middle East. The most famous face in America recently named her baby after a direction on the map. This year, Jim turned sixty five and after forty years at Phoenix Art Museum, he has retired. There is a lot to say about his time here, and while it’s tempting to try and synopsize his career, to turn forty years into bullet points, to spend our time on a who’s who of exhibitions he planned, artists he worked with, the blueprint of museum expansions, the CV of accomplishments and awards, we won’t do it. To list them again here would be a bit like introducing your oldest friend by providing their college transcripts. It just doesn’t tell the whole story. What we can tell you, instead, is what it was like to work with him every day, from his staff. We sat next to him in meetings, we asked for his advice, we traveled with him on research trips, we walked with him through the galleries, we chatted with him in the breakroom.

counseled us, and when we made mistakes along the way, he taught us that what mattered most was not what you did, but what you did next, how you picked yourself up, learned from the errors, and kept going. He enriched us and our work, with his depth of knowledge not only of the arts, but of the Museum’s history, the evolution of our community, the world around us. And, when Kansas won a national basketball championship, he wore a Jayhawks sweatshirt to the office, and was profoundly agreeable to all of the ideas and requests that came across his desk that day. But more than this, throughout all of his work over 40 long years, watching the Museum blossom with new growth, and through the lean, hard years of multiple recessions— He left his door open. Leadership conferences and executive training seminars charge big dollars to advise C-suite executives to begin by opening the door, to make the employee pop-in the order of the day. For Jim, this was no trick of perception picked up in a best practices seminar, this was simple wisdom, and it carried a lasting message. It said to every one of us, come in. You’re welcome. More than this, it said, you matter. You matter to this museum. You matter to me. There is a lot to say about working for Jim, working with him, knowing him. There is a lot to say about the man who has been the stalwart backbone of Phoenix Art Museum for forty years, who supported and guided his staff through the best times and the lean times, the man who chose to stay, who chose to build. But for now, as he begins the next new chapter in an already rich and rewarding life, there is only one thing left to say: Thank you.

This is how it was: He knew about every aspect of the daily business of the Museum, and he found so many things interesting and fascinating, from social media strategy to his joyful exuberance when shipping crates full of new artwork arrived. He supported us, he

THE LAST WORD

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Phoenix Art Museum would like to extend a warm thank you for all those who have given us support over the past several years. With your help and encouragement, we continue to engage new audiences and will remain the jewel of the Southwest.

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Cohn Financial Group welcomes Amada Cruz as The Sybil Harrington Director of Phoenix Art Museum.

5080 N 40th Street #235 Phoenix, Arizona 85018 p. 602.468.9667 t.f. 800.422.3883 cfgllc.com

Cohn Financial has been a Member Firm of M Financial Group since 1990. M Financial Group is one of the nationâ&#x20AC;&#x2122;s leading financial services and life insurance distribution companies. Securities offered through M Holdings Securities, Inc., Member FINRA/SIPC.

Proud supporters of the Phoenix Art Museum and The pARTy 2015. "The Sisters"

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PhxArt Magazine & The Journal