Winter spring newsletter 2018

Page 1

W I N T E R / S P R I N G 2018


new exhibitions // 02 continuing exhibitions // 11 art classes // 12 public programs // 14 member news // 15

John Buck, Old Ephraim in Paris, woodblock print, 61 x 37 inches. COVER: John Baldessari, I Will Not Make Any More Boring Art, edition 44/150, lithograph, 1971, 22 7/16 x 30 1/16 inches, from the collections of Jordan D. Schnitzer and his Family Foundation.


Cathryn Mallory, Autumn Sky, vintage linoleum, shingle, and copper wire on panel, 12 x 23.5 inches.


January 5–31, 2018 // Morris and Helen Silver Foundation and Shott Family Galleries First Friday: January 5, 5–8 p.m. Recognition of Artists at 7 p.m. Member Event: The Art of Collecting, with Lisa Simon and Jason Neal of Radius Gallery, January 17, 5:30 p.m. 46th Benefit Art Auction: February 3, 5–9 p.m., University Center Ballroom at the University of Montana Celebrate the power of art at the 46th Benefit Art Auction. At MAM, we believe art has enormous power— to ignite innovation, engage the next generation, transform perspectives, and inspire a lifetime love of collecting contemporary art. Experience the energy and generosity of 80 locally and nationally renowned artists who contributed new and vibrant works this year, including John Buck, Beth Lo, Steven Young Lee, and Wendy Red Star. The benefit art auction provides critical support for MAM’s contemporary art exhibitions and educational programming. Your bids at the auction support the transformative work of artists and help build a more robust arts community. The auction will be called by professional art auctioneer, Johnna Wells of Portland, Oregon, who highlights each work

of art and brings the power of the paddle into the hands of art lovers. Our presenting sponsor, U.S. Bank, is proud to celebrate a decade of support for the art auction this year. The Missoula Independent celebrates the power of free expression as our presenting media sponsor. A talented and generous volunteer committee guides the event from start to finish. Noteworthy Paper and Press creates beautifullydesigned letterpress invitations. The Missoula Wine Merchants presents an opportunity, for $25, to take home a fine bottle of a carefully selected wine valued at $25 or much higher at the Wine Wall. Slikati Photo + Video captures the dynamic energy of our guests who are gathered to bid, laugh, and cheer. This event, and the work of MAM, is made possible by more than 40 other businesses that provide in-kind and cash sponsorships to bring the power of art to our community.





March 27–August 25, 2018 // Carnegie Gallery

John Baldessari’s prodigious career in conceptual art and his commitment to teaching have influenced generations, making him one of the most important artists of our time. Conceptual art, as understood in its emergence in the late 1960s and early ‘70s, is art in the form of objects, performances, or ephemera, in which the concepts or ideas are given preference over traditional aesthetic, technical, and material concerns. Baldessari is known for making conceptual works that focus on the processes of chance, choice, and his selection to, as he says, grapple with order and disorder. This exhibition is named for the incongruous effect that occurs when perceptual or cognitive processes come into conflict. Human perception and cognition involve many different sensorial and mental systems that parse and process information independently. When pieces of information are incomplete, our minds attempt to supply the missing information. “I [like] the whole idea of completeness, “ said Baldessari. In many of his works, Baldessari alternately isolates or obliterates visual information, revealing ruptures in meaning tied to our limited perceptions. Author Wendy Weitman, in John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007, wrote, “The concept of incompleteness, distinguishing between parts and wholes, and how one conceptually creates a whole from fragmented parts is a fundamental theme in Baldessari’s work.” Emerging from the art resurgence that roughly paralleled 1960s counterculture on the West Coast, Baldessari presented new possibilities in art making. For isolated artists living throughout the western states, he stood as an example of someone who engaged the art world at-large while living and working in the West. This exhibition, drawn from Portland collector Jordan D. Schnitzer’s comprehensive collection, traces Baldessari’s print innovations and artistic development from the 1970s, after Baldessari famously burned all of the artworks he made prior to 1967, to the present. MAM thanks Schnitzer and his family foundation for exhibition loans and support. LEFT: John Baldessari, Two Figures: One Leaping (Orange); One Reacting (with Blue and Green), edition P.P., 2005, color lithograph with embossing and debossing, 22 5/8 x 18 3/8 inches; ABOVE: Stonehenge (With Two Persons) Yellow, edition 19/60, 2005, mixografia on handmade paper, 29 x 32 inches, from the Collections of Jordan D. Schnitzer and his Family Foundation.

Baldessari Member Preview: Tuesday March 27, 5:30 p.m. Head On, Lecture by Matthew Hamon: April 17, 7 p.m. Teen Art Workshop with Steve Krutek: April 19, 4:30 p.m. Book Club and Movie Night: April 25, 7 p.m. Member Reception with Jordan D. Schnitzer: May 31, 5–7 p.m. First Friday Reception: June 1, 5–8 p.m., Gallery Talk with Jordan S. Schnitzer 7 p.m.


March 2–July 28, 2018 // Lynda M. Frost Contemporary American Indian Art Gallery First Friday Reception with the Artists: May 4, 5–8 p.m., Gallery talk at 7 p.m. Saturday+ Roundtable Discussion with the Artists: May 5, 11 a.m. Visiting Artist Lecture with Duane Slick: February 13, 7 p.m. James Bailey Lecture: March 14, 7 p.m. Over the past two years, MAM, MATRIX Press, and the University of Montana School of Art have been working with four artists—Molly Murphy Adams (Oglala Lakota), John Hitchcock (Comanche), Sara Siestreem (Hanis Coos/Confederated Tribes of Coos, Lower Umpqua, and Siuslaw Tribes), and Duane Slick (Meskwaki/Nebraska Ho-Chunk)—who were each invited to participate in printmaking residencies generously supported by the Andy Warhol Foundation for the Visual Arts. Each artist visited Missoula for one week to create new work at MATRIX Press, interact with the community, and offer a public lecture about their artistic practice. Artists weren’t directed to make work in any given style, but were encouraged to follow their interests with the understanding that the results would be presented as part of this exhibition exploring abstraction. Murphy Adams beads directly onto drypoint etchings to create complex artworks that can be described as both object and image, as well as repeated linocut block prints using traditional geometric patterns and designs. Hitchcock, who learned how to draw by sketching beading patterns


for his grandmother, combines shapes and patterns captured in his sketchbook to create serigraphs with hand-drawn elements that focus on colors significant to the Comanche. Siestreem’s suite of photolithography images, Thanks Giving/Giving Thanks combine an abstract grid of hand-drawn circles, with scanned photographs of the artist’s hand forming symbolic gestures in support of the Water Protectors who protested the Dakota Access Pipeline, cautioning patience, prayer, and peace. Slick, whose residency begins in February, will create prints that use narrative, stories, and myths as the basis for abstract imagery. On the subject of abstraction, artist and author Gail Tremblay wrote, “Historically, Indigenous peoples have well-established traditions of both abstract and highly stylized representational design. Some visual symbols people use are mnemonic and make knowledgeable viewers who see them and think of stories associated with them. Contemporary Native artists are influenced by such aesthetic traditions and at the same time they are trained to use a wide variety of media and styles used by contemporary artists around the world.”

John Hitchcock prints on the drying rack at MATRIX Press in October 2016.



February 15–May 19, 2018 // Shott Family Gallery In 1999, during a major retrospective at the Missoula Art Museum, Miriam Schapiro (1923-2015) visited MATRIX Press and created eight etchings using handmade bonnets, doilies, and antimacassars. The resulting suite, Anonymous was a Woman, honors the labor of women whose names are lost to history, their handmade items having been relegated to “crafts” rather than artworks. Calling attention to the unassuming traditions associated with women, these prints celebrate women’s creativity and traditional art forms, critique the institutions that limit and trivialize women’s experiences, and promote a sense of identity, solidarity, and significance. In the 18 years since Schapiro’s residency, MAM and MATRIX Press have collaborated on numerous exhibitions, residencies, and lectures. MAM has collected more than two dozen MATRIX editions that have come from this collaboration, including Anonymous Was a Woman, which recognizes the ongoing work of women artists, as well as the fruitful MAM/MATRIX partnership. Miriam Schapiro, Anonymous Was a Woman III: Pineapple, softground etching, 17 1/2 x22 inches, 1999, MAM collection.


Ongoing // Travel Montana Lobby April 14, Viewer’s Choice, International Slow Art Day Viewing & Discussion Beginning with Slow Food’s emergence in Italy in 1986, slow subcultures have sought to respond to society’s frantic pace of living and destructive reliance on time-saving technologies. In museums, viewers spend an average of three to 15 seconds looking at artworks. Too often, larger museums despair that these fleeting moments come in the midst of blockbuster crowds armed with selfie sticks. MAM’s Slow View series encourages the mindfulness of intentional looking through focused installations of collection artworks and unique loans. Slow viewing values meditative stillness as an antidote to such restless experiences and as a path to passion, creativity, and connection. Viewers are invited to break from their routines, sit quietly with these artworks, and rediscover the rewards of awareness, observation, and engagement. With each installation, MAM will host a monthly event for viewers to contemplate a work, and then participate in a casual, facilitated discussion and writing activity about their individual experiences. For International Slow Art Day on April 14, MAM will host a discussion of other works on view in the galleries.

Slow View Saturdays, 12–1 p.m. January 20, Conversation: Robert Harrison and Brenda Clements February 24, Sheila Miles: The End of Love and Other Natural Disasters March 17, MaryAnn Bonjorni: Leg’d Mercury Robert Harrison, Pipe Dream Too: Banjo Billie & Painter Pete, altered reclaimed historic clay pipe, repurposed industrial porcelain, wood, c. 2013, MAM Collection, donated by Robert Harrison in honor of Stephen Glueckert.


new exhibitions


Joseph Baráz, Inc, 2017, oil on cardboard, 20 x 25.5 inches, courtesy of the artist.


February 15–May 26, 2018 // Morris and Helen Silver Foundation Gallery February 15–May 26, 2018 // Morris and Helen Silver Foundation Gallery First Friday with the Artist: March 2, 5–8 p.m., Gallery Talk at 7 p.m. Saturday + with the Artist: March 3, 11 a.m. This exhibition focuses on recent works by Hungarian-born, Helena-based artist Joseph Baráz. Baráz was born in the Baroque city of Eger. When he moved to Budapest to study acrobatics, he saw an Egyptian bronze cat from the 3rd century at the Szépmüveszéti Múseum (Museum of Fine Arts)—an experience so profound that he made the decision then to become an artist. As an acrobat, he traveled throughout Europe with the circus. Later, he and his wife Agnes escaped from the Soviet-supported socialist government, Magyar Népköztársaság, and eventually settled in San Francisco. As an artist, Baráz is largely self-taught, having gained aesthetic insights from his travels throughout Hungary, Germany, Italy, and the United States. His sculptures and paintings integrate construction refuse, architectural fragments, quarried stone, and found objects to reflect a wide range of influences—Egyptian and Cycladic sculpture, Bay-area artists Peter Voulkos and Stephen De Staebler, and 1980s neo-expressionists like Georg Baselitz, Julian Schnabel, and Cy Twombly. His artworks hover uneasily between painting and sculpture, and recall the modernist pursuit of ideal perfection. Yet Baráz’s work

purposefully cultivates a deliberate reliance on unfinished, uneven surfaces, recalling an architectural principle from the Renaissance called rustication—a rebellion against classical perfection that takes advantage of the tension between rough and refined surfaces. Similar to Arte Povera artists in the 1960s reacting against the refinement of modernist abstraction, Baráz rejects form and finish, preferring castoff, common materials. Speaking about the history of cardboard as an artistic material, Baráz references artists like Robert Rauschenberg and Sigmar Polke. Baráz purposefully cultivates an unfinished quality and consciously avoids, “manifestations of technique or pattern.” Instead, he responds to his materials without forethought, preferring “unthought” and spontaneous reaction. Baráz’s artistic practice is serial, focusing on a few areas of inquiry: totems, defined as sacred objects or symbols that serves as an emblem, and stelae (from the Greek meaning shaft or pillar), stone slabs or columns typically bearing a commemorative inscription or relief and used as a monument. These take the form of spiritual tools (hand-held pieces of worked stone), expressionistic paintings, and enigmatic found-object sculptures. This exhibition represents new work Baráz created since 2011 that has not been publicly exhibited.


March 27–August 11 , 2018 // Faith Pickton and Josephine Aresty Gallery First Friday with the Artist: April 6, 5–8 p.m., Gallery Talk at 7 p.m. Saturday + with the Artist: April 7, 11 a.m. Member Dinner with the Artist: May 16, 5:30–8 p.m. Corwin “Corky” Clairmont is one of Montana’s most important living artists. He is a soft-spoken man who has expressed his strong convictions through art for five decades. He spent the 1970s as a practicing artist and professor at Otis Art Institute in Los Angeles, where he was influenced by his contemporary, John Baldessari, and the conceptual art movement that was gaining steam. Clairmont’s visual language has fully developed over his long career. He adeptly combines the methods of conceptualism to guide content with a mastery of printmaking to create richly-colored monotypes that are layered with symbolism. He consistently addresses themes of environmental degradation and the effects on humans and wildlife. This installation, Two-Headed Arrow/The Tar Sands Project, is the culmination of more than two years’ work. At its core, the project is a wide-ranging conceptual and performative piece that covered nearly 900 miles. The journey began the summer of 2014 at MAM and ended at Suncor mining operations at the Athabasca tar sands in Alberta, Canada. Every 25 miles along the route, Clairmont stopped and repeated the same act. First he placed a print of a two-headed arrow on the ground oriented north to south. Then he positioned a gummy bear on each cardinal point surrounding the arrow. Clairmont photographed each mini-installation at its outdoor site and documented the environment with photographs looking North, South, East, and West. Next, Clairmont ripped the arrow print in half, leaving one head pointing north with the gummy bears in place and took the other half with him. At his final destination in Fort McMurray, Clairmont chartered a plane and took aerial photographs of the tar sands mining sites—gray landscapes barren or bereft of wildlife and forests. In the exhibition, the half-prints that Clairmont retained are used to create new works related to each of the 37 sites along the Missoula-to-Fort McMurray trip. Using the same process, Clairmont created unique works from sites around the country and in China. One site is at Standing Rock in North Dakota, and connects the Dakota Access Pipeline controversy to this project, years after Clairmont’s visit to the tar sands. These works

are combined in the exhibition to remind the viewer that the consequences of decisions made in one place and time affect all life on the planet. Clairmont was born on the Flathead Reservation and is an enrolled member of the Confederated Salish and Kootenai Tribes. He received a BFA at Montana State University and went on to earn his MFA at California State University in Los Angeles in 1971. He returned to Montana in 1984 to work as an administrator at the Salish Kootenai College in Pablo, where Clairmont was instrumental in creating the Fine Arts Department.

Clairmont on the steps of MAM in 2014 at the beginning of his journey with the Two-Headed Arrow/The Tar Sands Project.



on view beginning May 31, 2018


MAM was selected to be part of Art Bridges, a new, national museum partnership that seeks to make connections between institutions, established by the founder and chair of Crystal Bridges Museum of American Art’s board of directors, Alice Walton. Art Bridges helps museums create and fund exhibitions, bringing together art from nationally renowned museums, private collections, foundations, and the recently-formed Art Bridges collection. To inaugurate this project, MAM will display Philip Guston’s Cigar (1969) throughout 2018, using the painting as the catalyst for a 2019 exhibition in which local and regional artists make works in response. The exhibitions supported by Art Bridges range from single-object loans to fully developed exhibitions, and include funding for educational and interpretive materials. “We want to support partner institutions in expanding and deepening their connection with audiences,” said Walton. “This is about engaging communities through providing access and learning opportunities, as well as allowing for experimentation in exhibition development.” Institutional partners include the Brooklyn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, Smithsonian American Art Museum, Solomon R. Guggenheim Museum, and Yale University Art Gallery, among others. Additional information, including a list of works currently in the Art Bridges’ collection, is available at Philip Guston, Cigar, 1969, oil on canvas, 52 × 60 1/8 inches, Art Bridges. Photography courtesy of Sotheby’s.


January 3–February 24, 2018 // Lela Autio Education Gallery Each year, Opportunity Resources’ Artists of Opportunity show over 200 paintings in public spaces throughout Missoula. MAM’s exhibition of acrylic and digital paintings is assembled from the Artists of Opportunity calendar. According to ORI Art Director Thomas Lind, “A very high percentage of people with disabilities are quite gifted when it comes to expressing their sincere, unfiltered feelings through art. The ORI art program is crafted to expose these beautiful treasures, as well as the incredible people who created them, to the community.” David Beattie, Untitled, acrylic, 2016.


March 2–April 27, 2018 // Lela Autio Education Gallery First Friday: March 2, 5–8 p.m., Gallery Talk at 7 p.m.

MAM presents a view of local high school artists each spring. Sentinel High School art teachers Tim Nielson, Sally Friou, and Nicole Whitescarver offer selected works from their most adventurous and talented students for this year’s exhibition. “The purpose of [Sentinel’s] Advanced Placement/Senior Studio is to encourage young artists to develop an artistic voice,” explained Whitescarver. “Students are expected to display verve and growth over the course of the school year. This year’s students are working with expressive color and mark-making. As they engage with artwork from Jaune Quick-to-See Smith, Mary Beth Percival, and others, they are exploring topics from identity, to beauty, to a sense of place.” Sicily Moon, Eggs, pastel, 18 x 24 inches.

continuing exhibitions



Through February 24 // Lynda M. Frost Contemporary American Indian Art Gallery


Through March 10 // Carnegie and Faith Pickton and Aresty Galleries

The 31st Annual Fifth Grade Art Experience (FGAE) begins each morning in the Carnegie Gallery, where students are invited to view and discuss Jaune Quick-to-See Smith’s larger-than-life painting, Tribal Map 2001. Students tour all floors of the museum with Art Guides, discussing Quick-to-See Smith’s work, the four indigenous women artists of Our Side, and the student photography exhibit of Two Eagle River School. Then they express themselves and what they learned with a printmaking project in the classroom. Thanks to the support of generous donors, MAM is able to extend the invitation to all schools on the Flathead Indian Reservation. The museum seeks new volunteers to participate in Art Guide trainings. If you are interested, please attend the New Art Guide Training on Thursday, January 11. If you enjoy working closely with students and are not afraid of getting your hands dirty, consider signing up to help with the FGAE art project in the classroom any day from 10:15 to noon.


January 4, 3:30–5 p.m.

Celebrate the New Year with refreshments and a sneak preview of the 46th Annual Benefit Art Auction exhibit.

January 11, 3:30–5 p.m. New Art Guide Training. Please call to register, 406.728.0447.

February 15, 3:30–5 p.m.


$25K TO FUND COLLECTION CENTER STUDY, STATEWIDE COLLABORATION MAM recently secured a $25,000 grant from the Institute of Museum and Library Services (IMLS) Museums for America program. The grant will fund a statewide project to improve community access and collection resources for libraries and museums. MAM’s project, CARES: Catalyzing Access, Research, and Education Solutions, engages museums, libraries, civic agencies, and others from across Montana in a needs assessment with a goal of improving access to cultural collections and increasing resources for preservation and conservation. For more information, please visit Missoula Art Museum’s collection homepage at

View and discuss Joseph Baráz: Totems and Stelae and MAM’s collection of Miriam Schapiro prints, Anonymous was a Woman. Learn about Schapiro, a leader in the feminist art movement.

March 15, 3:30–5 p.m. View the exhibition The Shape of Things: New Approaches to Indigenous Abstraction, and learn about the print processes used in the production of this work with MAM Senior Curator Brandon Reintjes.

April 19, 3:30–5 p.m. Tour Corwin Clairmont’s exhibition Tar Sands, then enjoy a John Baldessari exhibit discussion with MAM Events and Public Programs Coordinator Lily Scott.


Corwin Clairmont will share his artistic practice and Native American culture with Missoula County fourth grade classes, thanks to a grant provided by the Montana Arts Council. Students from Lowell, Hawthorne, and Franklin schools will be visiting MAM during the week of April 9. Clairmont’s unique way of creating monoprints using MAM’s press provides students an opportunity to learn technical art skills from a recognized master.


art classes FOR FAMILIES





Tuesdays, 3:45–5:15 p.m. Ages 7–12, $50/45


Tim Thornton Do you have fun doodling and making pictures? Beginning with pencil and paper, Tim will cover topics such as proportion, shading, and basic perspective, before moving on to other materials, such as crayons, pastel and watercolor.


(No class March 27) Jolena Ryan Jolena will guide students in a variety of drawing, painting, printmaking, and special sculpture projects—like creating large wings to usher in spring!


Jolena Ryan March 26–30 // 9 a.m.–12 p.m. Ages 6–11, $90/81 Be creative and busy during spring break—spend your mornings in a whirlwind of creativity with Jolena. Campers will create books and fill them with prints made throughout the week, work on a papier-mâché sculpture, and a collaborative indoor painting.

11 a.m.–12:30 p.m. The whole family is invited to make art together in these free workshops. Please come a few minutes early to ensure a spot. Children under age seven should be accompanied by an adult. All materials are provided—just bring an open and creative mind. Thanks to the Dennis and Phyllis Washington Foundation for supporting MAM’s free family programs.

PUPPET FUN Regan King // January 13 Construct hand and shadow puppets and create different characters with specific emotions using a variety of materials and features. Participants create a paper bag puppet and a shadow puppet to take home with them! DYNO-DINO Regan King // February 10 Learn about dinosaurs while creating your very own critters using pre-cut dino parts such as long or short necks, beaks, teeth, feet, and various eyeballs! ACCORDION BOOKS Susie Risho // March 10 Create small accordion books using squares of brightly colored and patterned card stock. Use them for your personal pictures or photographs as a wonderful way to keep memories. CREATURE DISCOVERY Michelle Louis // April14 Collaborate on the creation of a new creature and its habitat. Learn about some native and exotic animals, and then recreate/hybridize/synthesize a new creature. Storytelling is encouraged!



All materials and snacks are provided. Free, 4–6 p.m. Every third Wednesday, MAM provides an opportunity for teens to meet and work with a professional artist. Artists share their art and a few creative tricks before presenting a project inspired by their own work. Special thanks to the Good Food Store and U104.5 for supporting Teen Artist Workshops at MAM. MINIATURE WORLDS Stoney Sasser // January 17 This class is an opportunity to design and develop art installations that fit inside of a miniature gallery space. Use a variety of materials to conceive your own unique diorama. HAND DRAWING AND DYEING SILK Anne Yoncha // February 21 Anne guides you in creating a unique piece of hand dyed silk art. The resist process allows you to transfer your drawing style and images to silk before dyeing the fabric with different colors. Create one individual piece to take home while collaborating on several large panels. WHAT A RELIEF! CARVING AND PRINTMAKING Darla Pienchak // March 21 Learn the basics of relief printmaking, including sketching, carving, inking, and printing. Explore the aspect of multiplicity while creating prints with imagery that best represents you. BALDESSARI ART BINGE Steve Krutek // April 18 Steve provides an overview of the John Baldessari exhibit at MAM, an artist who believes images shouldn’t be owned. Inspired by Baldessari’s use of borrowed imagery and dry wit, you will create an artwork with appropriated advertisements, collage, screen-printing, mono-printing, and drawing.



Alternate Saturdays, beginning January 6, 2:45–4:45 p.m. Ages 18+, non-instructed, $10/ 8 Draw from a live model. Some supplies are available for use.


Bev Beck Glueckert Saturday, February 17, 10 a.m.–12 p.m., $25/22.50 Guided by Bev, learn and experiment with a variety of techniques, including additive and subtractive processes, ghost prints, and Chine-collé, with or without a press. Learn critical skills in expression and image-making in this fun, hands-on workshop. Please bring images that you are interested in working with.



Bev Beck Glueckert Saturday, March 17, 10 a.m. -12 p.m., $20/18 Bev is available to assist with monoprints or other simple printmaking procedures. Participants must be familiar with print processes and the use of MAM’s printing press. All materials provided.

CLASS PAYMENT POLICY All classes require pre-registration. Your registration is confirmed with full payment or a non-refundable $20 deposit. The registration fee minus the deposit is refundable only if cancellation is made seven days prior to the first class meeting. To register for classes please call 406.728.0447 or visit Prices listed are MAM member/nonmember. ASK ABOUT AVAILABLE SCHOLARSHIPS!



This new program at MAM provides a friendly art-viewing and art-making experience for those in the early stages of dementia and their caregivers. Based on the Museum of Modern Art’s Meet Me program, Art in the Moment creates a dementia-friendly learning community and provides an opportunity for caregivers and those with dementia to be together in a creative and relaxed environment. Participants will view and discuss works of art with a trained Art Guide, then move to the classroom for a hands-on art activity.

Wednesdays, 10 a.m.–12 p.m., January 10, February 14, March 14, and April 11. Pre-registration required by calling 406.728.0447. Limited to 12 participants per session. Brenda Clements, Memory Jug, found object assemblage, c.1990, MAM Collection, Gift of Willem and Diane Volkersz.



February 17, 10:30 a.m.–2:30 p.m., $20 per object You are invited to a celebrity appraisal event at MAM! Join us for a day of dazzle and discovery with Missoula’s own world-renowned art and rare object appraiser Timothy Gordon of Timothy Gordon Appraisals and Grant Zahajko of Zahajko Auctions. You are invited to bring your fine art, decorative works, or rare artifacts to MAM for on-the-spot appraisals by Gordon and Zahajko. Recently named one of Antiques Roadshow’s top five appraisers by TVOvermind, Gordon has conducted numerous notable appraisals. Gordon also worked with other television productions, including PBS’s Frontier House. Third generation auctioneer Zahajko has spent over 25 years specializing in memorabilia, ephemera, autographs, documents, antiques, and more. He has served as Antiques Roadshow’s collectibles and sports memorabilia appraiser for the past six seasons. To learn more about these appraisers, please visit the Gordon Appraisals website at and Zahajko Auctions at


March 20, 1:30 p.m., Missoula Art Park Stop by the Missoula Art Park for a last view of Zentz’s remarkable sculpture, cycle(s), as it completes its full cycle of the seasons. Throughout his life, Zentz has been expansive in his practice but singular in his dedication to making instruments of perception. This artwork locates the viewer at a particular place and time. Zentz mathematically coordinated the placement of discs on the ground to mark high noon on the solstices and equinoxes. The oculus on top of the piece—a bicycle sprocket—aligns with the markers, acting as a solar calendar and marking the changing seasons.


Connect with artists and MAM’s art community on the First Friday of each month from 5 to 8 p.m. Enjoy live music by KBGA, light refreshments, and a gallery talk at 7 p.m. Thank you to our sponsor, the . January 5 // 46th Benefit Art Auction Exhibition Reception Meet many of the 80 artists whose works were chosen for MAM’s upcoming 46th Annual Benefit Art Auction to be held on Saturday, February 3, 2018. March 2 // Joseph Baráz and the Sentinel High School Student Show Baráz introduces his new work, publicly displayed for the first time at MAM, and Sentinel High School’s finest young artists display their mixed-media artworks. April 6 // Corwin Clairmont: TwoHeaded Arrow/The Tar Sands Project Clairmont presents multimedia prints produced from a wide-ranging conceptual and performative piece for which he covered nearly 900 miles from Missoula to Alberta, Canada. May 4 // The Shape of Things: New Approaches to Indigenous Abstraction Exhibition of new works exploring abstraction created by artists Molly Murphy Adams, John Hitchcock, Sara Siestreem, and Duane Slick through printmaking residencies at MATRIX Press.

CONTEMPORARY COLLECTORS CIRCLE Spring Fling to Helena! April 21, 9:30 a.m.

Take a day trip to Helena to explore local collections. Start with a walking tour of outdoor sculptures at the venerable Archie Bray Foundation for the Ceramic Arts and get a sneak peek at work in progress created by current residents. Lunch at the studio and home of painter Doug Turman and Mary Lee Larison before setting off to view the impressive art collection of MAM patron Tim Speyer. Space is limited. RSVP by April 1. CCC membership is open to MAM members who opt in with a $100 per person annual contribution in addition to annual museum membership, MAM donors at the Leader Circle level ($1,000 and above), legacy donors, and donors to MAM’s collection. To join the CCC or RSVP for an event, contact Cassie Strauss, Director of Development, or call 406.728.0447.


On select Saturdays this spring from 11 a.m. to 12 p.m., come to MAM to discuss contemporary art with exhibiting artists, scholars, and curators while enjoying coffee generously provided by March 3 // Joseph Baráz Baráz discusses his exhibition Totems and Stelae. April 7 // Corwin Clairmont Clairmont discusses the project that gave rise to his exhibition Two-Headed Arrow/The Tar Sands Project. May 5 // The Shape of Things Roundtable Discussion with Molly Murphy Adams, John Hitchcock, Sara Siestreem, and Duane Slick artists on their exhibition The Shape of Things: New Approaches to Indigenous Abstraction.

Molly Murphy Adams, Shelter, 2017, drypoint, beadwork, 15 x 11 inches.

MAM’S MISSION MAM serves the public by engaging audiences and artists in the exploration of contemporary art relevant to the community, state, and region.

HOURS: Closed Sundays & Mondays Tuesday - Saturday 10 a.m. – 5 p.m.

MAM BOARD OF DIRECTORS: John Baldessari, Six Colorful Gags (Male), edition 22/25, 1991, photogravure, aquatint and spit-bite aquatint, 47 x 54 in. From the Collections of Jordan D. Schnitzer and his Family Foundation.


RSVP for each event by calling MAM at 406.728.0447


January 17, 5:30 p.m. Join Radius Gallery owners and local art collectors Lisa Simon and Jason Neal for a guided look at the artworks in this year’s auction while sampling drinks and hors d’oeuvres. Free.


March 27, 5:30 p.m. Gather for opening night of John Baldessari: Interference Effects while enjoying drinks and light hors d’oeuvres. This fun, informal look at Baldessari’s work in a friendly atmosphere will orient viewers to this radical artist whose commitment to teaching was central to his practice.


May 16, 5:30–8 p.m. MAM Members in the Patron Circle or higher are invited to have dinner at the museum with artist Corwin Clairmont. Corky will talk about his latest body of work, Two-Headed Arrow, which travels to the Eiteljorg Museum of American Indians and Western Art following the MAM premiere, while you enjoy a masterfully prepared meal and paired wines. Space is limited. Reserve your seat in advance. $50 per member.


May 31, 5–7 p.m. Enjoy an evening with exhibition lender and philanthropist Jordan D. Schnitzer while enjoying light refreshments. Schnitzer will provide an overview of his extensive collection and talk about his commitment to arts education. Free.


To become a member, check your membership status, or renew, contact Director of Development Cassie Strauss at 406.728.0447 or cassie@ #artpower

Leslie Ann Dallapiazza (President), Brian Sippy (Vice President), Sara Smith (Treasurer), Betsy Bach, Lara Dorman, Kay Grissom-Kiely, Becca Nasgovitz, Cathay Smith, Taylor Valliant.

MAM STAFF: Laura J. Millin (Executive Director), John Calsbeek (Associate Curator), Tracy Cosgrove (Director of Finance & Administration), Bethany O’Connell (Marketing & Communications Coordinator), Jennifer Reifsneider (Registrar), Brandon Reintjes (Senior Curator), Cassie Strauss (Director of Development), Lily Scott (Events & Public Programs Coordinator), Renée Taaffe (Education Curator), Cassidy Tucker (Visitor Services & Retail Coordinator). MAM IS FUNDED IN PART by Missoula County and the City of Missoula. Additional support is generously provided by the Dennis and Phyllis Washington Foundation, Montana Arts Council, Montana Cultural Trust, 21st Century Community Learning Center Grant, Art Associates of Missoula, the Missoula Business Community, MAM patrons and members. MAM is accredited by the American Alliance of Museums (AAM). Missoula Art Museum is wheelchairaccessible from the building’s main entrance at Pattee Street. MAM staff is available to meet special needs.

Free Expression. Free Admission. 335 N. Pattee, Missoula, MT, 59802 406.728.0447 GRAPHIC DESIGN: Yogesh Simpson |


free admission. free expression. // // 406.728.0447

Voices in Contemporary Art

L E C T U R E S E R I E S & B O O K C LU B

VISITING ARTIST LECTURE WITH DUANE SLICK February 13, 7 p.m. This lecture is presented in conjunction with the Jim and Jane Dew Visiting Artist Lecture Series at the University of Montana School of Art. Slick is the fourth and final resident artist at UM’s MATRIX Press, a collaboration with MAM generously supported by the Andy Warhol Foundation for the Visual Arts. Slick is a professor of painting and printmaking at the Rhode Island School of Design. Slick uses what he calls Trickster Theory—humor and deception—to reveal absurdity and dislodge and unpack colonial assumptions about Native Americans. LECTURE WITH CAROLYN KASTNER, PH.D. Jaune Quick-to-See Smith: A Life in Print // March 8, 7 p.m. Join us at MAM for an evening with Carolyn Kastner, curator of the Georgia O’Keeffe Museum and author of Jaune Quick-toSee Smith: An American Modernist. Kastner earned her Ph.D. in American Art History at Stanford University, focusing on the diversity of modernism. In honor of Quick-to-See Smith’s lifetime achievement award for printmaking by the Southern Graphics Conference, Kastner will address her works on paper and the 45 prints and drawings comprising MAM’s significant collection of her work. Fascinated by Quick-to-See Smith’s prolific body of

work, Kastner has presented several papers on the artist’s range of activities, from her environmental practice and political actions to her historical series and masterful oil paintings. PUBLIC LECTURE WITH JAMES BAILEY Wednesday, March 14, 7 p.m. Join UM Professor of Art and head of MATRIX Press James Bailey as he talks about MATRIX’s upcoming 20th anniversary, providing an overview of recent residencies with The Shape of Things artists Molly Murphy Adams, John Hitchcock, Sara Siestreem, and Duane Slick; and the historic visit of Miriam Schapiro to MATRIX Press in 1999, when the artist created the Anonymous Was A Woman suite. HEAD ON: UM ASSOCIATE PROFESSOR OF ART MATTHEW HAMON ON BALDESSARI April 17, 7 p.m. Hamon will provide insights into Baldessari’s practice and conceptual art. Hamon’s work has been featured in the 2016 and 2017 editions of the Taylor Wessing Prize at the National Portrait Gallery, London, and in the Royal Photographic Society’s International Photography Exhibition 160.

BOOK CLUB/MOVIE NIGHT MORE THAN YOU WANTED TO KNOW ABOUT JOHN BALDESSARI, VOLUME 1 Edited by Meg Cranston and Hans-Ulrich Obrist // April 25, 6–7 p.m. Start the evening off with popcorn and a few informal selections of performance pieces, interviews, and films by or about John Baldessari. Spanning the years1957 to 1974, it includes never-before-published texts and illustrations of Baldessari’s word compositions that have a literary and graphic impact. When describing his writing, Baldessari is typically concise and profound, “I never say edifice when building would do.” Pick up advanced copies in the MAM Bookstore. Register in advance and receive 10% off the book. Call 406.728.0447 to register.


A Deca


port fo e of Sup


and the