Missoula Art Museum - Fall/Winter 2019 Newsletter

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FALL/WINTER 2019


n e w e x h i b i t i o n s // 3 c o n t i n u i n g + t r a v e l i n g e x h i b i t i o n s // 7 c o l l e c t i o n n e w s // 1 2 e d u c a t i o n + c o m m u n i t y o u t r e a c h // 1 6 a r t c l a s s e s + w o r k s h o p s // 1 6 p u b l i c p r o g r a m s // 1 8 m e m b e r e v e n t s // 1 9

Director’s Comments Laura J. Millin

The role of museums is evolving in our rapidly changing world. A prevailing assertion by museum advocates that ‘museums are not neutral’ is motivated by the notion that museums should not shrink from issues of the day and should be a forum for addressing the issues that define our turbulent era. Museums have traditionally avoided controversial topics, and yet they can provide an ideal context for addressing issues that affect our humanity. MAM has long embraced a bold vision for its future, and believes the ongoing success of our mission lies in being relevant for an engaged audience. Now, we are constantly being thrown new challenges and feel a responsibility to facilitate engagement that responds to constantly shifting cultural dynamics. We listen to artists. Artists react to the world in powerful and provocative ways. The collaboration between Richard Misrach and Guillermo Galindo, Border Cantos | Sonic Border, is a powerful, poetic and emotionally moving response to perhaps our most vexing issue today—migration—and stimulates reflection and empathetic dialogue. We heard Linda Maria Thompson when she reached out from Sweden with her memoir, reflecting on her family’s chosen migration to and from this country. This autumn we will again present the fearsome Rick Bartow (Mad River Band Wiyot) and discover, as he did, the restorative power of art through mythical beings. We create conversation with a commitment to our democratic ideals: dialogue, respect, equality, and responsibility. Indian Country Conversations, MAM’s new series of Saturday afternoon discussions, complements our contemporary American Indian exhibitions, and aims to build a bridge to Indian Country and provide a platform for researchers, artists and cultural advocates. Come by Saturday, September 14, and ‘Bury the Hatchet’ with exhibiting artist John Hitchcock (Comanche/Kiowa/German/Dutch) or with celebrated elder artist Lillian Pitt of the Columbia River Gorge on November 9. We recognize the colonialist roots of this wonderful institution. In consultation with Tony Incashola, Chairman of the Confederated Salish Kootenai Culture Committee, and Mike Durglo Jr., Tribal Preservation Department Head, we formulated the following statement of indigenous land and cultural acknowledgment, which we proudly use in our publications and at public events at the museum: MAM is situated on the traditional, ancestral territories of the Séliš (Salish or “Flathead”) and Qĺispé (upper Kalispel or Pend d’Oreille) peoples. MAM is committed to respecting the indigenous stewards of the land it occupies. Their rich cultures are fundamental to artistic life in Montana and to the work of MAM. As humble conveners, we hope to make meaning in a crazy world and believe it is possible to have engaged conversations about important topics without heightening divisions.

Rick Bartow, Creation of Crow (detail), 2014, acrylic on canvas, 371/16 x 49 inches, collection of the Jordan Schnitzer Museum of Art, gift of Rick Bartow and Charles Froelick.

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new exhibitions

The Restorative Power of a Haunting Narrative Native Artist and Vietnam Veteran Rick Bartow Confronts Loss and Recovery

Rick Bartow (1946–2016) is one of the nation’s most important contemporary Native artists. This fall MAM features his work in a national traveling exhibition organized by The Jordan Schnitzer Museum of Art at the University of Oregon. Bartow–a member of the Mad River Band Wiyot, a tribe that thrived in Northern California before being massacred in large numbers in the 1860s by vigilante settlers—created art drawn from his personal history, Native American ancestry, and friendships with artists from around the world. Born in Newport, Oregon and educated at Western Oregon University where he graduated with a degree in secondary arts education, Bartow served in the Vietnam War immediately after college. Awarded a Bronze Star for his service, Bartow worked as a teletype operator and hospital musician in Vietnam from 1969 to 1971. By the time he finished his tour, he suffered post-traumatic stress and turned to substance abuse. After a period of recovery, making art allowed Bartow to confront parts of his history that were difficult. While he avoided depicting specific wartime experiences, his work came to feature haunting combinations of human and animal forms seemingly caught in the act of transformation. Author Barry Lopez called Bartow’s art, particularly the animal images, “penetrating.” He observed that Bartow’s art was made “to be in service, to work through the mess and make something comprehensible.” Bartow is known for his large-scale paintings, drawings, prints, and sculptures that have been featured in many solo and group exhibitions nationally and internationally and are in numerous public and private collections. One of the highlights of his career was the completion of We Were Always Here, a monument commissioned by The Smithsonian's National Museum of the American Indian and installed on the National Mall in Washington, D.C. In 2013, Bartow suffered a major stroke. Within days of nearly losing his memory and motor skills, he was back in the studio, drawing and painting his way back to health. Until his death just three years later, Bartow continued to produce art.

Rick Bartow: Things You Know But Cannot Explain October 4–February 15, 2020 Carnegie Gallery Art Swing October 25 // 5–8 PM Film Screening, The Line and Legacy of Rick Bartow, November 2 // 2 PM (Day of Remembrance) Member Reception for Danielle Knapp McCosh Associate Curator, Jordan Schnitzer Museum of Art (JSMA) November 20 // 5:30–6:45 PM Gallery Talk with Danielle Knapp November 20 // 7 PM

Organized by the Jordan Schnitzer Museum of Art, University of Oregon. Support for the exhibition is provided by the Ford Family Fund of the Oregon Community Foundation, Arlene Schnitzer, the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold and Arlene Schnitzer CARE Foundation, a grant from the Oregon Arts Commission and the National Endowment for the Arts, the Ballinger Endowment, Philip and Sandra Piele, and JSMA members.

Rick Bartow, Mad River Johnny and a Little Bird, 2015, drypoint, 27½ x 19¾ inches, MAM Contemporary American Indian Art Collection, gift of the artist and the Jordan Schnitzer Museum of Art, University of Oregon, Eugene.

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new exhibitions

Four Decades of Bartow: A Retrospective

MAM Serves as Final Venue for Impactful, Culturally Significant Exhibit Things You Know But Cannot Explain represents Rick Bartow's first major retrospective and a substantial contribution to the growing body of scholarship on contemporary Native artists. This exhibition speaks directly to the personal and cultural aspects of traditional Native art within Bartow’s oeuvre while demonstrating his close engagement with the work of 20th century artists, such as Francis Bacon, Robert Rauschenberg, and Jean-Michel Basquiat. Representing more than 40 years of work, this exhibit features a broad selection of sculptures, paintings, drawings, and prints drawn from public and private collections and the artist’s studio, affirming Bartow’s regional, national, and international impact. The exhibition culminates with outstanding examples of Bartow’s most recent work, which evidence a new freedom of scale and expression. Rather than chronological, the exhibition is arranged according to themes such as gesture, self, dialogue, tradition, and transformation. The exhibition is accompanied by a fully illustrated catalog, with essays by co-curators Jill Hartz, Executive Director, and Danielle Knapp, McCosh Associate Curator of the Jordan Schnitzer Museum of Art (JSMA) at the University of Oregon in Eugene. Hartz addresses Bartow’s new work while Knapp discusses the thematic sections. Lawrence Fong, former Curator of American and regional art at the JSMA, examines the impact of Bartow’s 1996 visit to New Zealand and his indigenous heritage.

An Unexpected Gift Graciously Donated to MAM Collection: Bartow’s Mad River Johnny and a Little Bird

Preparing for a major exhibition is never without surprises, but none are as delightful as receiving an unexpected gift. During the organization of Things You Know But Cannot Explain, the Jordan Schnitzer Museum of Art (JSMA) wowed MAM with an offer to donate a print by Rick Bartow. Titled Mad River Johnny and a Little Bird, the drypoint is one of three variations of a portrait of Bartow’s Wiyot grandfather, Mad River Johnny. JSMA commissioned the series in 2015, about a year before Bartow passed. He was receiving treatments for macular degeneration, but that didn’t slow the process. “I just keep working. Without work, I really don’t have anything…for the best part I don’t get along with people too well, and I really don’t get along when I can’t work.” Bartow completed Mad River Johnny and a Little Bird in an edition of 16 prints plus two proofs. While working with master printer Mika Aono Boyd of the University of Oregon, Bartow observed that the process was “a dialogue with ink and lines.” In that spirit of conversation, Bartow asked that JMSA gift the prints to the nine federally recognized tribes in Oregon, the Wiyot tribe, lenders to the exhibition, and selected museums who support contemporary Pacific Northwest and Native art. MAM is honored to be considered among these supporters. The drypoint is the 11th work by Bartow in MAM’s Contemporary American Indian Art Collection, and adds depth to the representation of his paintings, drawings, linocuts, and intaglios.

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Support for the exhibit in Missoula is provided by First Security Bank and the Richard E. Bartow Trust.


Rick Bartow, The Returning, 2010, acrylic on panel, 101/16 x 13 inches, framed, courtesy of the artist and Froelick Gallery, Portland, Oregon.

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Ellen Garvens, Soutine Goes to Heaven, 2019, digital photograph, 30 x 40 inches, courtesy of the artist. 6


Ellen Garvens and Barbara Weissberger: Perception October 22–March 2, 2020 Faith Pickton and Josephine Aresty Gallery Art Swing October 25 // 5–8 PM

new exhibitions

Challenging Perception From Behind the Lens New Exhibit Focuses on the Evolution of Photography

Organizing exhibitions can be a complicated process. In the case of Ellen Garvens and Barbara Weissberger: Perception, MAM Associate Curator John Calsbeek and Senior Curator Brandon Reintjes contemplated the right approach, direction, and artists to create an exhibition focused on new approaches to photography at a pivotal moment when the medium is undergoing such drastic changes and broad redefinition. Calsbeek and Reintjes were familiar with Barbara Weissberger’s work from her time spent in Basin, Montana, in residence at the former Montana Artists Refuge. They maintained correspondence with the Pittsburgh-based artist during her annual visits to Montana. When she began making elaborate ‘set up’ compositions from the detritus of studio practice using common objects like string, white paper, and cardboard to make photographs about photography as a subject, they took notice. Wanting to exhibit this new series, Calsbeek and Reintjes began to plan an exhibition. Rather than include every photographer who uses nontraditional approaches to photography, they chose to keep a narrow focus and looked to another artist on the opposite coast whose work covered remarkably similar ideas and approaches—Ellen Garvens. Garvens, who teaches photography at University of Washington, was trained as a painter, but uses photographs

Barbara Weissberger, Eat The Studio (step ladder), 2019, 19 x 13 inches, digital photograph/archival pigment print, photo print on cotton (cut, pieced, sewn) wrapped wood frame, courtesy of the artist. and videos in her current practice. MAM curators introduced Garvens and Weissberger and proposed a joint exhibition of ‘set up’ photographs that subvert the viewer’s perception in many different ways. Calsbeek and Reintjes were able to do a studio visit with Garvens in Seattle and select work, followed by a studio visit with Weissberger in Basin. The resulting photographs included in Ellen Garvens and Barbara Weissberger: Perception undermine the usual aesthetic relationships such as perspective, orientation, figure/ground, viewpoint, spatial relations, light, focus, and depth, causing viewers to reassess what is fundamental to their aesthetic experience. Each artist creates a fiction, a make believe that is both humorous and absurdist, a bit like a magic act or how theater can suggest a world of imagination, limitless possibilities, and a sense of excitement.

CONTINUING EXHIBITIONS

TRAVELING EXHIBITIONS

Linda Maria Thompson: Emigrant Memoir Through September 7

Laura Grace Barrett: A Survey September 1–December 1 // MonDak Heritage Center/Art and History Museum under the auspices of Montana Art Gallery Directors Association (MAGDA)

John Hitchcock: Bury the Hatchet/Prayer for My P’ah-Be Through September 14 Border Cantos | Sonic Border Richard Misrach | Guillermo Galindo Through September 21 In Praise of Folly: Five Artists After Philip Guston Adrian Arleo, John Buck, Richard Notkin, Jaune Quick-to-See Smith, Jay Schmidt Through September 21 Clarice Dreyer: In the Garden Through October 5

Continuum: Contemporary American Indian Art From the MAM Collection Curated by Nikolyn Garner September 1–October 8 // Northcutt Steele Gallery at MSU-Billings October 15–December 1 // DeWeese Gallery at Bozeman High School under the auspices of Montana Art Gallery Directors Association (MAGDA) Jerry Rankin: Golden Sunlight September 15–December 15 // Paris Gibson Square Museum of Art under the auspices of Montana Art Gallery Directors Association (MAGDA)

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new exhibitions

The Bizarre Brilliance of Ken Little’s Taxidermy “I was just a very serious child and young man. I’ve met some wonderful people, like my old friend Rudy Autio, who have shown me that life can be a lot more fun.” —Ken Little Trophy Room is a fun exhibit featuring works by Texas artist and longtime friend of MAM Ken Little. The intimate Shott Gallery on MAM’s second floor is transformed into a curio collection of taxidermy animals. Little makes sculptures by piecing used leather products, dollar bills, and other found objects onto taxidermy forms to give new life to the traditionally stiff and lifeless animal trophy mount. His menagerie comprises coyotes, wild boars, a black bear, and multiple buck deer mounts, among others. Included in the show is Little’s very first taxidermy piece: a deer mount he found in a Missoula thrift store in 1979. He has continued to work with the series today, 40 years later. On the genesis of the ongoing works, Little explains: “One day in the studio I was working on a rather weathered, old deer head mount that had been abused. The nose was rotted off, the eyes were missing, and the antlers were broken. I began to try to return it to some sort of grace or dignity, by rebuilding the eyes. I then ‘armored’ the whole thing in Lucky beer cans (for the hunters!). I repaired the antlers. And then, I started to use parts of an old leather shoe to replace the nose. AAH HA! I was returning the skin back to the animal; I was Dr. Frankenstein to this beast!” To mount this exhibit, MAM borrowed most of the works from private collectors in Missoula. It is telling that there are so many artworks by a contemporary artist from San Antonio, Texas, in local homes. Little came to Missoula in 1974 to teach ceramics at the University of Montana and stayed until 1980. The friendships created then have lasted a lifetime and made Missoula like a second home to Little. Missoula is lucky to have such a fine collection of works by Little in the community, and the museum is grateful for the generosity and enthusiasm of all the lenders to the exhibit. Little is a steadfast supporter of MAM’s annual benefit art auction. Year after year, Little’s taxidermy animal heads are an ever-popular addition to the benefit, and many of the works in the exhibition were purchased from MAM’s art auctions. In fact, one of the works in this exhibit will be included in this year’s benefit art auction. See page 20 for details about MAM’s 48th Benefit Art Auction. Ken Little, Turquoise Buck, 2006, mixed media, 33 x 18 x 18 inches, courtesy of Betsy Wackernagel Bach.

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Ken Little: Trophy Room September 14–December 28 Shott Family Gallery Sponsored by the Good Food Store Teen Artists Workshop October 16 Art Swing October 25 // 5–8 PM


new exhibitions

Montana Modernism: Exploring the Origins of Creative Expression

Spotlighting the Revitalization of Craft and the Artists Who Defined Mid-20th Century Art in Big Sky Country The next time you drop into MAM to enjoy a reception, attend a multimedia performance, or engage with new ideas at a panel discussion, consider the history that shapes your experience of contemporary art in Montana. Senior Curator Brandon Reintjes, at the invitation of Glenn Adamson, senior scholar at the Yale Center for British Art, did just this as he researched the roots of modernist art in Montana for The Journal of Modern Craft, an international, peer-reviewed publication. Reintjes dug into the ways in which a grassroots, nonprofit organization called the Montana Institute for the Arts (MIA) kindled a statewide revitalization of craft media, such as clay, fiber, metals, and wood, in the mid-20th century. Knit together by MIA activities and a quarterly publication, artists overcame Montana’s rugged geography and vast physical space to forge a new landscape for creative expression. Their generous personalities, friendships, and sense of experimentation would distinguish Montana modernism and create opportunities for art to flourish across the state. Local summer arts festivals were one way to connect. In fact, it was the success of the MIA-sponsored Missoula Festival of the Arts that led directly to the founding of the Missoula Museum of the Arts—today’s Missoula Art Museum—in 1975. From the Ground Up showcases the work of founding and early MIA members, including Maxine Blackmer (Missoula), Henry and Peter Meloy (Helena), Bill Ohrmann (Drummond), Frances Senska (Bozeman), Branson Stevenson (Great Falls), Peter Voulkos (Helena), and others from across the state. Inspired by their spirit of collaboration, From the Ground Up draws not only from the MAM Collection, but also presents rare works from the Montana Museum of Art & Culture at the University of Montana and local private collections.

Peter Voulkos, Vase, 1959, stoneware and glaze, 13¾ x 6 x 5½ inches, MAM Collection, gift of Maxine M. Blackmer, 2003.

From the Ground Up: The Postwar Craft Movement in Montana September 14–December 28 Morris and Helen Silver Foundation Gallery Sponsored by Stockman Bank Gallery Talk With Senior Curator Brandon Reintjes November 18 // 11 AM

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new exhibitions

Drawing Upon 10,000 Years of Native American History

Lillian Pitt Weaves Tradition and Tribute to Honor the Legacy of Her Ancestors Lillian Pitt presents her newest artwork in Honoring My Ancestors, a solo exhibit opening at MAM in September. Pitt is celebrated nationwide for making contemporary artwork in the deep tradition of Pacific Northwest Native American artists. Recent works in the exhibit include prints, masks, and a new series of Sally bags. Traditionally, a Sally bag was a woven basket used to gather roots, medicines, nuts, and seeds by Native American women of the mid-Columbia River region. The weaving technique is unique to this region with distinguishing motifs of human figures and animals. Created in blown glass and adorned with traditional shapes and symbols, Pitt’s richly colored Sally bags honor the cultural legacy of her ancestors from the Wasco, Warm Springs, and Yakama nations as contemporary artworks. Pitt, born in 1943 on the Warm Springs reservation in Oregon, grew up not knowing very much about her ancestors or the traditional art of her people. Her parents lived at the time when Indian children were sent to boarding schools that stripped their culture and tried to force assimilation to the white-settler way of life. “And so my father grew to think that we would be better off if we tried to be less Indian. He felt that being less Indian could help his children have more comfortable lives,” Pitt explains. It wasn’t until she was in her 30s that Pitt learned her ancestry in the Columbia River Gorge dates back more than 10,000 years. She was already working as an artist, but searching for her focus and artistic identity. An elder brought her to see the rock carvings and pictographs made thousands of years ago by her ancestors. This epiphanic experience set the course for Pitt’s long, influential career. Her experience seeing the painted and carved rock was a true revelation. “I couldn’t get over how interesting these rock images were” she says. She spent much of her early years as an artist “learning about my ancestors and studying the designs that they created. I learned everything I could about their rock carvings, their baskets, beaded bags, dresses, the tools they used.” In the past four decades Pitt has become a celebrated contemporary artist. She is comfortable working with numerous materials and media in all scales. Though primarily a sculptor, Pitt is also a printmaker and jeweler. No matter the medium, her work always pays homage to her ancestors. She is probably most renowned for the masks made with various materials including cast bronze, glass, and clay. Her series of mask portraits honors the first rock painting she saw, Tsagaglalal (She Who Watches). The mixed media sculptures depict animals and people and sometimes the mystical combination of the two. “Regardless of the medium,” the artist states, “and ever since my early years as an artist, my work directly relates to and honors my ancestors, the environment, and the animals.” Lillian Pitt, photo by Holly Andres, courtesy of the Oregon Cultural Trust.

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Lillian Pitt: Honoring My Ancestors September 20–February 22, 2020 // Lynda M. Frost Contemporary American Indian Art Gallery Sponsored by the Holiday Inn Parkside Art Swing October 25 UM MATRIX Residency November 6–8 Saturday Family Workshop November 9 // 11 AM–12:30 PM with Ben Crawford Indian Country Conversations November 9 // 1 PM


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COLLECTION NEWS featured acquisitions

One Painting Changed Everything Judith Basin Encounter Series Woven Into MAM History

MAM’s robust collection holds 2,000 artworks representing modern and contemporary art in the region. But there was a time when there was no cohesive art collection and only a rough framework of how—and more importantly, why—the museum would accept the daunting responsibility to preserve artwork for posterity. Dial back to the mid-1980s. The museum was barely a decade old. Each month, a handful of staff and volunteers turned a shoestring budget into a brisk schedule of exhibits running the gamut of historic, contemporary, local, and international art. In an ambitious move that helped secure the museum’s national accreditation, the museum established a permanent art collection focused on the American West. The collection encompassed the initial—and sometimes scattershot—holdings of about 100 artworks. But a watershed moment arrived in 1987, when Dan and Sophia Lambros saw George Gogas’ Judith Basin Encounter Series: When Charlie Met Pablo on the Open Range. “It knocked our socks off,” Sophia recalls, and the couple stepped forward to purchase the work for the burgeoning collection. For Gogas, the work sparked a career-spanning commitment. In dozens of paintings since, he envisioned modernist giant Pablo Picasso and Western art icon Charlie Russell saddling up in central Montana and confronting the legacies that bear on contemporary art and life in Montana. The duo has braved corporate development, financial meltdowns, social injustice, and political upheaval. Branded with Gogas’ fearless wit and insight into current events, the series has remained lively and fresh.

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The first Judith Basin painting was a touchstone for the museum as well. This major acquisition embodied the bold spirit of change, and within a few years the museum transformed its identity, became independent of county governance, and adopted a clear vision for collecting contemporary art relevant to the American West with an emphasis on Montana artists. The why of the collection— to create access to Montana art—became stronger. Throughout the years, MAM has shared the seminal Judith Basin Encounter in numerous gallery exhibits, statewide loans, and publications. It’s even available to the public as a license plate! The legacy of the Judith Basin Encounter transcends any single work. Two paintings Gogas made for the MAM benefit art auction returned to the museum recently in a bequest from David Moomey (1959–2018). In the last eight years of his life, Moomey was a dedicated MAM board member and enthusiastic chair of the Collection Committee. He connected with Gogas’ themes and understood the importance of long-term support for the arts. His thoughtful planned gift to MAM included 11 artworks, as well as financial support for collecting activities. MAM looks forward to rotating these Judith Basin paintings and other works from his gift in the Art in Public Places loan program, which serves Missoula citycounty employees and residents. George Gogas, Judith Basin Encounter Series: When Charlie Met Pablo on the Open Range, 1987, acrylic on canvas, 54 x 84 inches, Missoula County Art Collection managed by MAM, purchased by Dan and Sophia Lambros.


MAM AWARD

Honoring the Generosity of George and Lynn Gogas and Rocky Mountain Moving and Storage Longtime Museum Supporters Receive 2019 MAM Awards

For three decades, George and Lynn Gogas—two of the recipients of this year’s MAM Award—have been a vital part of the pulse of the Missoula Art Museum, watching MAM grow from a small organization housed in a former Carnegie Library building to one of the most widely respected contemporary art museums in the Northwest. Of George and Lynn’s steadfast support, MAM Director Laura J. Millin said “MAM has had a rich partnership with George through his art, and for decades George and Lynn have been among our most generous patrons. We don’t tend to think of artists as patrons, but, in fact, by giving what they have to give—art—artists are very generous donors indeed. George and Lynn’s donations, including auction sales, voluntary commissions on sales of art exhibited at MAM, and MAM ART4ALL license plate sales together have tallied over $100,000. They give willingly, with a reciprocal spirit, and from the heart.” While MAM is grateful for all George and Lynn have done for the museum, Lynn says she and George are thankful for the support MAM shows artists. “It was very nice to be selected [for the award] because the MAM has been such a huge part of our lives, but really we feel like we get much more from the museum than we give.” She attributes this unique support to the fact that many of the past and present staff at MAM are artists themselves. George has always felt at home working with MAM. Growing up in Missoula, he frequented the old Carnegie Library in downtown Missoula. The library was built thanks to a $12,500 grant from Andrew Carnegie in 1903. In the 1970s there was talk of destroying the library and constructing a parking lot, but due to the advocacy of artists like George Gogas and Lela Autio it was instead turned into the Missoula Art Museum. George says it really makes him feel at home to have that part of Missoula’s history contained within such a wonderful museum. He is heartened to witness how far MAM has come with the expansion into the current space, and he agrees with Lynn—a Billings native—that “It’s just good to go back to that same building to spend time looking at good art. We always feel welcome there.” George and Lynn met at the University of Montana while attending the art program. Both were teachers— Lynn for 27 years as a sixth grade teacher and George for 30 years teaching art at Missoula high schools. After retiring from teaching, Lynn worked with MAM in their education department on the Fifth Grade Program as an Art Associate. George began dedicating more time to his art after retirement.

George and Lynn Gogas. Photo by Geoff Sutton, 2013. Rocky Mountain Moving and Storage were also honored as MAM Award recipients this year. Owners, Barney and Catherine White have been an invaluable help and resource to MAM for over 30 years, perfecting the art of packing, moving, and storing artworks with heart.

Poem for Barney and Catherine

Who are the “never say no’s?” Who are these nameless givers, and quiet neighbors? They respond to a call for help, and answer the questions, can you help us move a priceless painting? Please help us move that fragile one-ton abstract thing, can you store our crates? Move the tiny, big, heavy and precarious, can you pick up and transfer work for hundreds of miles? The work is hand-made by nervous artists and owned by protective patrons, can you work on weekends or in the middle on the night? Winter or summer, in snow or rain, can you keep the work level, coddled and dry? The highways, loading docks and country roads are your stage. I cannot imagine my town without the never say no’s The never say no’s believe in the community of artists, plumbers, poets, carpenters, cooks, writers, laborers, dancers, students, libraries, teachers, schools and museums. They believe in people here, from all walks of life, shapes, sizes and kinds...living together in this place. This place would not be this place without the never say no’s. Stephen Glueckert, 2019

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MAM AT WORK

Jessie Novak

MTCC AmeriCorps Education Intern Jessie is a rising senior at Rocky Mountain College majoring in Arts Education, and worked full time throughout the summer as an MTCC AmeriCorps Education Intern at MAM. While attending Hellgate High School in Missoula, Jessie was active in MAM’s teen program and regularly attended Teen Artist Workshops. This was Jessie’s sixth summer at MAM, working either for college credit or interning as an education assistant while enrolled in college. This summer Jessie held several education roles, including classroom maintenance, attending teacher trainings, leading inquiry-based tours through contemporary art exhibitions, teaching art camps for kids, assisting Teen Open Studio, conducting student and counselor evaluations, and spearheading MAM’s summer afternoon ARTreach community outreach program. MAM wishes Jessie a fantastic senior year at college and sends a big thank you for playing an integral role in helping MAM’s summer education programs thrive.

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Blackfeet Nation’s Dylan Running Crane Explores Native Perspectives at MAM

First-Ever AAMD Diversity Internship Recipient Selection Goes to MAM MAM was pleased to have welcomed Dylan Running Crane to the museum as this year’s Association of Art Museum Directors (AAMD) intern. The AAMD internship program was created to engage undergraduate students from underrepresented communities and nurture their career opportunities. Only 10 recipients secured this paid summer internship, and MAM is honored to have been asked to select one of the first. AAMD and partnering museums felt strongly that this be a paid internship, making it more accessible to students like Dylan. In her time at MAM, Dylan helped the museum expand its relationship to and understanding of indigenous perspectives, particularly from that of Dylan’s own tribe—the Blackfeet Nation. She worked with pieces from the Contemporary American Indian Art Collection—including Sara Siestreem’s For Children in Cold Climates, Lillian Pitt’s Ceremony and She Who Watches, and Jaune Quick-to-See Smith’s Flatland Vest: Father and Child—writing on their significance to both the contemporary art world and the American Indian world. In addition, Dylan dabbled in curatorial responsibilities like art handling and worked with the museum’s educational staff, helping out in the classroom. Dylan also attended the American Alliance of Museums (AAM) conference in New Orleans where she interacted with fellow AAMD interns and was pleased to find many of the conversations geared toward bringing more people of color to leadership roles in museum organizations. This invaluable experience allowed Dylan to collaborate with young and diverse students who Dylan believes are the “future of museums.” What Dylan enjoyed most about interning with MAM was the opportunity for deep critical thinking and the exploration of topics she is both curious and enthusiastic about. “I get paid to be an angry, righteous native, and that’s pretty cool,” Dylan said, recognizing the opportunity to use her voice for awareness and change in a time when museums are representing Native artists for that same importance of expression. Of John Hitchcock’s mixed-media, cross-disciplinary, multisensory installation currently on display at MAM—Bury The Hatchet: Prayer for My P’ah-Be—Dylan said “His pieces are exciting and loud, and I think that loudness taps into something beautiful that is shared and known amongst indigenous communities but is rarely allowed to be expressed to anyone else. So to see it in an art museum in Missoula, Montana, is just inherently wonderful.” Dylan grew up in Browning, Montana, on the Blackfeet Reservation, and she’s majoring in film theory at the University of Montana. Focusing on her major and her passion for creating short films, she has so far made two promotional videos for the university and helped direct a short documentary. Many of her endeavors circle back to her Blackfeet heritage in one form or another. MAM is excited to see what the future holds for Dylan with her fierce dedication to the arts and Native culture.


ADVANCEMENT

40 Forward Campaign Transforming Work, Space, and Reach of Museum ONLY $400,000 LEFT TO RAISE TO REACH $5 MILLION GOAL By Tracy Cosgrove, Deputy Director for Finance and Advancement MAM’s 40 Forward Campaign began in 2015 to fund strategic growth in key areas and take the museum to the next level. We are now in the public phase of our campaign, and within striking distance of reaching our goal of $5 million. This extraordinary fundraising endeavor has surpassed our expectations, thanks to all who have been moved by and believed in our vision! The impact of the campaign is already significant. And it’s worth pausing to look at the extraordinary programs and activities this campaign has funded for MAM over the last four years, and to thank those who have taken us to this point. Expanding MAM’s Footprint Outdoors MAM’s vision of an outdoor gallery was realized in 2017, when the Missoula Art Park opened with its first exhibition, By the Bicycle. Now in its third season of showcasing outdoor sculpture, the Art Park has proven to be a unique gathering place for art-viewing, break-taking, and music-making. Special thanks go to our funding and fundraising partners, the City of Missoula and Adventure Cycling. Collaborations and Innovative Programs The 40 Forward Campaign brought national funders and prestigious art museum collaborators to MAM, allowing the museum to broaden its commitment to supporting art at its source with commissions, residencies, and exhibits. Each year MAM has been able to expand its free education offerings beyond Missoula County to children in rural areas and the Flathead Reservation with this increased funding. Collection and Care Since the campaign, MAM’s collection has been enhanced with in-kind gifts of artwork, support for art purchases from exhibiting artists, and funds to explore vault expansion and a possible research center at the Museum. Fiscal and Organizational Strength MAM has raised more than $100,000 for endowment funds, increasing its investment value by 23% to help undergird the museum’s innovative programs and support its outstanding staff. Program and unrestricted funding has more than doubled, allowing MAM to strengthen the museum from the inside out with added staff talent and a robust business model.

THANKS TO OUR VOLUNTEER FUNDRAISERS! 40 Forward Leadership Team Betsy Bach, Leslie Dallapiazza, Brian Sippy (chair), Cathay Smith, Kate Sutherland Momentum Team Sharon Alexander, Betsy Bach, Vivian Brooke*, J. Martin Burke, Mae Nan Ellingson, Jerry Fetz, Nici Holt, Margaret Kingsland, Toni Matlock, Ruth Reineking, Jocelyn Siler, Brian Sippy, Sharon Snavely Art Park Team Margaret Borg, Leslie Dallapiazza (chair), Kevin Gordon, Ginny Merriam, John Paoli, Nancy Rittel, Jim Sayer, Sheila Snyder, Marcia Williams Business Team Leslie Dallapiazza (chair), Paul Filicetti, Matt Gibson, Bill Johnston, Sara Smith, Jonathan Weisul* Legacy Team Betsy Bach (chair), Stephanie Christensen, Josh Gimpelson Next Generation Team Lara Dorman, Inge Erickson, Becca Nasgovitz, Cathay Smith (chair), Taylor Valliant Regional Team Brian Sippy (chair), Kate Sutherland, R. David Wilson. * Deceased

Today, now four years into the campaign, MAM is truly transforming the breadth and caliber of its programming thanks to the support of our 40 Forward donors. We have so much more to do to propel and sustain this transformation. We invite you to join us in this vision as we continue to build on and increase support for MAM’s ambitious goals.

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EDUCATION & COMMUNITY OUTREACH

ART CLASSES & WORKSHOPS

TRAINING AND PROFESSIONAL DEVELOPMENT

FOR KIDS After School Art Adventure

MAM offers trainings for teachers, teaching artists, and art guides. These hands-on workshops connect with the core values and mission of MAM and share best practices in the field of art education. This cycle focuses on respectful exploration of our dedicated Contemporary American Indian Art Gallery. Email Education Coordinator Jenny Bevill at jenny@missoulaartmuseum.org for more information or to RSVP for upcoming trainings.

FOR EDUCATORS Explore Indian Education for All

Through Contemporary Art Office of Public Instruction’s Indian Education Specialist Mike Jetty and MAM’s Educator Coordinator Jenny Bevill October 29 // 4–6 PM // FREE Two PIR Credits Offered Connecting with the newly updated Seven Essential Understandings of Indian Education for All (IEFA), participants explore Native American artist Rick Bartow’s exhibition Things You Know But Cannot Explain, on view through February 15, 2020. Themes of self, dialogue, tradition, and transformation are explored. Space is created to amplify Native voices. Teachers of all grade levels and disciplines are welcome, and gain an increased comfort level for teaching IEFA.

FOR ART GUIDES AND EDUCATION VOLUNTEERS

Tuesdays, September 10–October 1 // 9–10:30 AM Do you love sharing art with others? Are you interested in leading tours of museum exhibitions for all ages and joining our stellar group of beloved volunteers? MAM’s education team provides the necessary tools, skills, and practice to generate discussion and deepen the viewing experience for everyone. Four trainings are offered, and all are appropriate for both new and returning art guides. Training includes an orientation to MAM’s inquiry-based interpretive strategy, as well as an in-depth look at exhibitions. To lead tours at MAM you must attend at least one training, shadow one tour, and be shadowed for one tour. Art guides are valued volunteers and receive a free membership for working six or more hours a year. Membership includes a 10% discount on classes, workshops, and bookstore purchases, as well as special invitations to members-only events.

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Tuesdays // 3:45–5:15 PM // Ages 7–12 // $54/60 Create artwork inspired by MAM exhibitions. There is a short tour and a series of projects including drawing, painting, printmaking, and 3-D exploration. Receive a 20% discount if signing up for both series.

Bev Beck Glueckert

ASAA Series 1: September 10–October 15

Nikki Rossignol

ASAA Series 2: October 22–November 26

FOR TEENS Teen Artist Workshops

Monthly // 4–6 PM // FREE This is a unique opportunity for teens to learn different techniques and methods from a professional artist and create artwork of their own. Special thanks to the LEAW Family Foundation and U104.5 for supporting teens and art at MAM. All materials and snacks are provided free for teens. Follow @mam_teens and #mamteens on Instagram.

Found Object Taxidermy

Jeff Brown // September 18 Inspired by Ken Little’s exhibition, Trophy Room, participants choose a combination of found objects to create their own animal sculpture. Little uses power cords, headphones, belts, roller skates, and more to create the most unique animals ever seen. Bring materials from home or use those provided to create a fantastical animal trophy.

The Art of Transformation

Stoney Sasser // October 16 Native American artist Rick Bartow used his art to express feelings and wrestle with mysteries. Inspired by his exhibition Things You Know But Cannot Explain, participants use paint and charcoal to explore ideas of transformation, employing human and animal imagery, brushwork, and color-mixing to bring these mysteries to life.

Not Just a Bowl: Abstract Vessels

Pat Hoban // November 20 Participants are encouraged to abandon the typical round cup, plate, or bowl and allow imagination and instincts to flow, creating abstracted ceramic vessels in the tradition of the Montana Modernists. Instruction in proper hand-building techniques with air dry clay are offered. Once basic forms are created, explore ways to alter them, or start with an abstract idea and build a unique vessel from scratch.

Teen Open Studio

Thursdays, September 5–December 19 2–5 PM // FREE (No meetings on Halloween or Thanksgiving) MAM holds space for teens to work independently within a supportive community atmosphere. A teaching artist and mentor are present each session and materials are provided. Work on individual projects, complete art homework from school, or seek help on an art portfolio for college. Bring a snack and bring friends!

FOR FAMILIES Saturday Family Workshops

11 AM–12:30 PM // FREE The whole family is invited to make art together in these artist-led, free workshops. Please arrive a few minutes early to ensure a spot. Children under age seven should be accompanied by an adult. All materials are provided.

The Sound of Home: Monotypes and Monoprints

John Hitchcock // September 14 Join exhibiting artist John Hitchcock and adjunct professor at the University of Montana’s School of Art, Jason Clark, while exploring the meaning of home through printmaking. What does home look like, feel like, sound like? Spend time listening to music from John Hitchcock’s solo exhibition to inspire monoprints of home using MAM’s printing press. Techniques we will cover: reductive/ additive printing, color overlays, paper stencils, and print registration.


Festival of Remembrance Community Shrine

Bev Beck Glueckert // October 26 11 AM–1 PM (extended time) Honor and remember a loved one, a beloved pet, or any significant person or idea. Materials are provided to construct small pieces that may be carried individually in the procession on November 2, or placed in the on-site Community Shrine. Bring personal photos, sketches or images to inform your designs.

Honoring Our Ancestors

Ben Crawford // November 9 Join artist Ben Crawford in creating paperwork baskets and bags to explore themes of ancestors, the environment, and animals inspired by the aesthetic craft traditions of Pacific Northwest Native American artist Lillian Pitt.

Wage Peace Mural

Janaina Vieira-Marques // December 18 Inspired by Judyth Hill’s poem Wage Peace, participants create a mural of faces inscribed with ideas of how to actively wage peace locally and/or globally. The public is invited to add to this mural throughout the month of December. Come and share ideas about how to make our community, and the world, kinder and more compassionate.

FOR ADULTS Open Figure Drawing

Saturdays, September 21, October 19, November 16, December 21 // 2–4 PM Ages 18+ // non-instructed // $8/10 Draw from a live model in an independent drawing studio environment. Some supplies are available.

Art In The Moment

A Program for Those With Dementia and Their Caregivers Mondays, September 9, October 7, November 4 (no December session) // 2–4 PM // FREE A comforting art-viewing and art-making experience for those in the early stages of dementia and their caregivers. Art in the Moment creates a dementia-friendly art learning community and allows caregivers and those with dementia to be together in a creative and relaxed environment. Participants view and discuss artwork on

display in the galleries in small groups and create work of their own in the education classroom. Preregistration is required; call 406.728.0447.

Jackalopes and Contemporary Art

Steve Glueckert // September 19 4–6 PM // $18/20 Join Curator Emeritus Stephen Glueckert for a tour of Ken Little’s exhibition Trophy Room. This talk covers some of Little’s important influences, his western Americana language, storytelling, anecdotes, and his process involving the use and re-use of materials.

Cranium Origami

October 12 + December 14 // 11 AM–12:30 PM The Cranium Origami Group hosts a free, intergenerational folding session aimed at introducing people to origami and helping advanced folders go to the next level.

Sense of Place Through an Indigenous Lens

Co Carew // October 14 10 AM–12 PM, $18/20 In honor of Indigenous Peoples Day, join Co Carew, professor at Salish Kootenai College (SKC), as she discusses her Indigenous artsbased research focused on understanding a ‘sense of place.’ Carew, a descendant of Mescalero Apache, shares her methods and findings from research that she conducted with faculty, alumni and students from SKC. Participants are guided through an art-making experience to highlight and solicit their understanding of ‘place.’ Expect to use paint and collage during this mixedmedia art-making experience. No prior art experience needed.

Gallery Walk and Talk

Brandon Reintjes and Jenny Bevill November 18 // 12–1 PM // FREE Join MAM’s Senior Curator and Educator Coordinator on an interactive gallery tour through From the Ground Up: The Postwar Craft Movement in Montana. Armed with a sketchbook, a pencil, and a partner, guests will investigate, discuss, and draw from this exhibition. What is Montana Modernism and how did it begin? How did a grassroots movement ripple out statewide? This is a collaborative experience, celebrating the spirit of this particular group of artists.

Photographic Fiction

Marcy James // December 12 4–6 PM // $18/20 Explore how photography has evolved, and how traditional elements such as perspective, orientation, figure/ground, viewpoint, spatial relations, light, focus, and depth cause viewers to reassess what is fundamental to their aesthetic experience. Do photographers create fiction or capture reality? How do they do it? Marcy James, Missoula photographer and owner of Paper & Ink studio, unpacks the exhibition Ellen Garvens and Barbara Weissberger: Perception, engages the group in interactive discussion, and shares her own work. Register online at missoulaartmuseum.org or call 406.728.0447. Scholarships available.

Lunch Club

Monthly, September 18, October 16, November 20 December 18 // 12–1 PM, FREE Let MAM’s education staff guide you and your colleagues on a lively tour of the museum and spark lunch conversation related to the art on view. This educational respite promotes health and wellbeing, offers a bonding opportunity for staff, and enables connection with other Missoulians. MAM invites businesses and organizations to sign up for this 30-minute mini tour and 30-minute facilitated lunch conversation. Email Education Curator Kay GrissomKiely at kay@missoulaartmuseum.org to register up to 10 coworkers. C L A S S PAY M E N T P O L I C Y

All classes require preregistration. Please register at least one week in advance to ensure sufficient attendance and avoid possible class cancellation. Your registration is confirmed only with full payment or a nonrefundable $20 deposit. Registration fee (minus $20) is refundable only if cancellation is made a week before the first class meeting. Please note: All prices are listed member/nonmember.

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ED PROGRAMS FIFTH GRADE ART EXPERIENCE

MAM is excited to launch its 34th annual Fifth Grade Art Experience (FGAE). Each weekday from October through January, hundreds of fifth graders from Missoula County Public Schools and beyond spend the first three hours of their day at MAM interacting with Rick Bartow’s exhibition, Things You Know But Cannot Explain, and creating their own expressive paintings using acrylic paint. After painting, students will walk to the Missoula Public Library to get a library card and explore books related to their museum visit. Inquiry-based gallery activities encourage self-engagement and the process and culture of self-discovery that have become the core of MAM’s education programs. Sponsored by Art Associates of Missoula and Kim Erway Birck.

MUSEUM AS MEGAPHONE

MAM’s Newly Launched Distance-Learning Program This past spring MAM’s education team partnered with Inspired Classrooms to build and launch an online platform through which schools beyond MAM’s geographic reach can participate in a realtime, live, interactive tour. Students log in from their classroom and feel like they’re in MAM’s galleries! Educators and artists respond to student questions as we see one another on screen. This platform expands MAM’s reach and amplifies the voices of rural and tribal students across the state.

NEW DOCENT PROGRAM AT MAM Have you ever volunteered as an art guide/ docent at MAM or are you interested in becoming one? MAM wants to hear from you! What would make volunteering at MAM more attractive? What are the obstacles to volunteering as an art guide/ docent at MAM? Email your feedback to kay@missoulaartmuseum.org or jenny@missoulaartmuseum.org. MAM’s first docent meeting will be held on January 14, 2020, 12 to 1 PM to wrap up the Fifth Grade Art Experience (FGAE) and discuss the new docent program.

MAM ON THE MOVE!

Look for our pop-up art-making station at MAM’s First Friday and events around town. Stop by to explore materials and pick up a flyer where you’ll find information about upcoming exhibitions and educational offerings. Stay tuned in to our website, Facebook page and Instagram for details.

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PUBLIC PROGRAMS INDIAN COUNTRY CONVERSATIONS (ICC)

Indian Country Conversations is aimed at providing a platform for research, innovation, and traditional knowledge by American Indian artists, scholars, researchers and cultural advocates. Individuals of all backgrounds and ethnicities are welcomed and encouraged, with the goal of developing a learning environment that promotes cross-cultural exchange in relationship to relevant exhibition topics. This series is made possible by support from the Cultural Vision Fund and the Llewellyn Foundation. Free and open to the public.

Bury the Hatchet

September 14 // 1 PM John Hitchcock The third talk of this conversation series features John Hitchcock (Comanche/ Kiowa/German/Dutch artist), plus David Moore and Corwin Clairmont. This conversation will explore the concepts behind the title of John’s exhibition at MAM.

Honoring Ancestors

November 9 // 1 PM Lillian Pitt The fourth talk of this conversation series, features exhibiting contemporary Native American artist Lillian Pitt (Columbia River Gorge) and two additional guests. Ancestors are honored in many cultures throughout history. Join in this conversation about what it means to honor ancestors and the depth of cultural legacy.

FIRST FRIDAY

Experience MAM’s engaging exhibitions for free on the First Friday of each month from 5 to 8 PM. Enjoy unique art-viewing experiences, a no-host bar, and create your own masterpiece with the art education team. Special thanks to the Missoulian and KBGA for their support.

VOICES IN CONTEMPORARY ART

Richard Misrach and Guillermo Galindo September 4 // 7 PM // MCT Center for the Performing Arts MAM presents renowned artists Richard Misrach and Guillermo Galindo in conjunction with the exhibition Border Cantos | Sonic Border, a unique collaboration that documents the human reality of the U.S.-Mexico borderlands. Photographer Richard Misrach will present a multimedia lecture exploring the collaboration, and Guillermo Galindo will offer a mesmerizing performance with his musical instruments/sculptures made from objects recovered from the border. Tickets are free for MAM members and students (reservations required), $5 for the general public. Purchase tickets at missoulaartmuseum.org or call 406.728.0447 to RSVP. Made possible with support from Art Bridges.

DRAM SHOP COMMUNITY HAND UP September 17 // 5–9 PM Enjoy a delicious drink while supporting MAM! The Dram Shop will provide a great evening of high-quality beverages

and friendly staff, and a dollar from every glass sold will be donated back to the Missoula Art Museum. Come support community collaboration at The Dram Shop and give MAM a hand up!

INDIGENOUS PEOPLES DAY

October 14 Stop by during open hours (Tuesday through Saturday, 10 AM to 5 PM) to celebrate Lillian Pitt’s and Rick Bartow’s exhibitions at MAM in honor of Indigenous Peoples Day. Join us for a special adult workshop: Exploring “A Sense of Place” Through an Indigenous Lens, from 10 AM to 12 PM. See page 17 for details.

THE LINE AND LEGACY OF RICK BARTOW, FILM SCREENING

November 2 // 2 PM MAM invites you to join us for a Day of Remembrance as we celebrate the life and legacy of exhibiting artist Rick Bartow with a film screening dedicated to his life’s work. Free and open to the public.

REMEMBERING RICK BARTOW

November 20 // 7 PM Join Danielle Knapp, McCosh Associate Curator from the Jordan Schnitzer Museum of Art (JSMA), for a gallery talk about the curation and elements of Rick Bartow’s Things You Know But Cannot Explain. Explore the gestural, traditional, and transformational themes of the show and gain insight into this important retrospective.


MEMBER EVENTS Pre-Lecture Member Reception

September 4 // 5:30 PM MAM members are invited to the museum for a pre-lecture party to celebrate the work of Richard Misrach and Guillermo Galindo. Enjoy hors d’oeuvres, good company, and a no-host bar at the museum before strolling over to Missoula Children’s Theatre Center for the Performing Arts for a lecture and performance by the artists. Free for members.

Remembering Rick: Member Reception

November 20 // 5:30–6:45 PM // FREE Stop by MAM before the evening lecture for a meet and greet with Danielle Knapp, McCosh Associate Curator at the Jordan Schnitzer Museum of Art (JSMA), who organized Rick Bartow: Things You Know But Cannot Explain. Members enjoy a complimentary glass of wine. To RSVP, contact Program and Events Coordinator Joseph Kellogg at joe@missoulaartmuseum.org or call 406.728.0447.

Wine Palette: Ken Little

December 11 // 5:30 PM $80/$30 members (nonmember price includes annual membership) Connect to the wacky and wonderful art of Ken Little with Senior Curator Brandon Reintjes, and enjoy wines, expertly paired with the rich colors and hues of this exhibition, provided by sommelier Doug Smith from George’s Distributing. To RSVP, contact Program and Events Coordinator Joseph Kellogg at joe@missoulaartmuseum.org or call 406.728.0447.

Contemporary Collectors Circle

Crystal Bridges Museum Trip Postponed MAM’s planned visit to the Crystal Bridges Museum of American Art in Bentonville, Arkansas has been postponed from November 2019 to the spring of 2020 to take advantage of the new contemporary space, Momentary, opening in February. Stay tuned! In light of the reschedule, MAM will offer a different Contemporary Collectors Circle event this season. Contact Development Officer Madeleine Ford at madeleine@missoulaartmuseum.org or call 406.728.0447 for more information.

Access to MAM Collection as Classroom Experience

Teachers and Scholars Encouraged to Use MAM Artwork for Educational Purposes Teachers, independent researchers, and study groups are invited to view original works from MAM’s collection of more than 2,000 objects to enhance curriculum and stimulate discussions. “Students love having a real, contemporary art museum experience…I truly support and appreciate the availability of the collection,” says Montana State University professor and artist Sara Mast, who has trekked from Bozeman with her undergrad students to study paintings from the collection. MAM’s specialties are contemporary Native American art, Montana Modernism, and challenging, contemporary art from this region. Start by sampling more than 800 works in a searchable online catalog at missoulaartmuseum.pastperfectonline.com and contact MAM staff to learn about additional works that can serve your needs and interests. Email MAM’s registrar at jennifer@missoulaartmuseum.org with questions or to schedule an appointment. Thanks to our media sponsors:

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. HO U R S

Tuesday–Saturday 10 am–5 pm Closed Sunday and Monday M A M B OA R D O F D I RECTOR S

Betsy Wackernagel Bach (Past President), Stephanie Christensen (Vice President), Lara Dorman, Inge Erickson, Paul Filicetti (Secretary), Matt Gibson, Josh Gimpelson, Cathay Smith, Sarah Smith (Treasurer), Kate Sutherland (President), Taylor Valliant , R. David Wilson M A M STA F F

Jenny Bevill (Educator Coordinator), John Calsbeek (Associate Curator), Tracy Cosgrove (Deputy Director for Finance and Advancement), Madeleine Ford (Development Officer), Kay Grissom- Kiely (Education Curator), Siera Hyte (Visitor Engagement/Security Officer), Joe Kellogg (Program & Events Coordinator), John Knight (Visitor Engagement/Security Officer), Laura J. Millin (Executive Director), Jennifer Reifsneider (Registrar), Brandon Reintjes (Senior Curator), Cheyenne Rivers (Visitor Engagement/Security Officer) M A M I S F U N D E D I N PART BY

Missoula County and the City of Missoula. Additional support is generously provided by Art Bridges, the Cultural Vision Fund, the Dennis and Phyllis Washington Foundation, Montana Arts Council, Montana Cultural Trust, 21st Century Community Learning Center Grant, Art Associates of Missoula, business members, and 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 N. Pattee Street. MAM staff is available to meet special needs. FREE EXPRESSION. FREE ADMISSION.

335 N. Pattee, Missoula, MT, 59802 missoulaartmuseum.org | 406.728.0447 G R A P HI C D E S I G N

Yogesh Simpson Design Co. yogeshsimpson.com

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335 N. PATTEE // MISSOULA, MT 59802

NON-PROFIT ORG U.S. POSTAGE PAID MISSOULA, MT 59802 PERMIT NO. 346

free admission. free expression. // missoulaartmuseum.org // 406.728.0447

SAVE THE DATE! February 1, 2020 // 5:30–9:30 PM University Center Ballroom at the University of Montana $150/$100 MEMBERS; PREPAID TABLE OF TEN $1,000

Presenting Sponsor:

Art SWING @ MAM

October 25 // 5–8 PM Celebrate the Fall season with live music, gallery tours, and conversation with exhibiting artists Ellen Garvens, Barbara Weissberger, Lillian Pitt, and Ken Little. Tap your toes to tunes by Ken Little and friends. Complete your evening with catered hors d’oeuvres and a no-host bar. $10 adults/$5 students (free for members). Call 406.728.0447 to RSVP or purchase tickets. Sponsored by Western Montana Clinic


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