Missoula Art Museum - Summer 2020 Newsletter

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Director’s Comments Laura J. Millin

We write from the quiet confines of the Missoula Art Museum during the ongoing pandemic. We are welcoming our guests and community back in small numbers and appreciate the respect for the safety protocols in place. It is good to have the art being seen, talked about, challenged, and loved. We sit and listen to the profoundly inspiring international call to action brought about by the growth of the Black Lives Matter movement in the face of horrific escalating and ongoing violence against black and brown people. We recognize that this is not just a moment, but a movement. MAM acknowledges that our museum was founded on a framework of colonization—a form of cultural dominance—and has imposed institutional authority when deciding how to collect, care for, and interpret cultural property. To address these historical injustices, MAM has been working to build a framework of decolonization and stop the cycle of objectifying, exotifying, and discriminating against communities and cultures in the margins. Further, we have been committing our resources to support education equity for rural and Tribal youth in our region, to increase our effective allyship by exploring the implicit biases within our institution, and to work together to dismantle the cycle of oppression at MAM. MAM celebrates the work of Black artists, Indigenous artists, artists of color, women, and those historically underrepresented at our institution, and we are committed to sharing and amplifying their voices and contributions to contemporary culture. In that spirit, I am pleased to share the following expression of appreciation of Jay Laber (Blackfeet), whose sculptures are featured in MAM’s Art Park this summer, by MAM staff member Dylan Running Crane (Blackfeet). I was five the first time I noticed Jay Laber’s metal statues outside of Indian Health Services in Browning. I held the hand of my grandma as she walked me from the car into the hospital for whatever checkup I needed at the time. Maybe it was that childhood fear of needles or maybe it was the comfort of my grandmother's hand that led me to spinning a fantastic story about Laber’s sculptures. Looking up at that great metal elk, that buffalo with eyes made of tire hubcaps, that eagle caught in mid-flight, I started recounting out loud the time I saw them jump down from their pedestal and run in laps around the hospital parking lot. Up and down I swore to my grandma that if she just looked close enough, she would see them breathing, waiting for no one to look, so they could run away again. At 16, I would borrow my parents' car to drive through Glacier National Park in the warmer months. Usually, taking along a friend, we would giggle at the tourists posing with Jay’s statues situated at all four entrances to the Blackfeet Reservation. I think it was this time, in our adolescence, just as one might start to truly understand and internalize the history of the United States, that giggling at the tourists felt righteous. We were Blackfeet, just like Jay. And that connection meant we didn’t have to pose. Those statues were ours. And in the sea that is white America, knowing that an artist comes from the same background you do is a safe and comfortable island. Now, at 21, these nostalgic memories of bearing witness to Jay Laber’s legacy holds me up in a time that America is once again confronting—and in some spaces, justifying—her uncomfortable past. The toppling of Christopher Columbus statues around the United States speaks to what such commemorations can mean to the people who hold space for them. A statue can honor hate. A statue can glorify genocide. Or perhaps, as Jay has taught all of us who have stopped along our path to rest and appreciate his work, a statue can honor love. A statue can speak to the resiliency of story. A statue can be a call home. —Dylan Running Crane

Jay Laber (1961–2019), Finds His Spot, ca. 2002–2007, 75 x 24 x 24 inches, mixed media, collection of Maggie Goode, copyright the artist, photo courtesy of MAM.


new exhibitions

Art Park Exhibit Honors Artist Jay Laber by Brandon Reintjes, Senior Curator

Three years after artist Jay Laber (Amskapi Pikuni/Blackfeet, 1961–2019) was born, his family lost everything. The devastating flooding across the Blackfeet Reservation in June of 1964 has been called Montana’s worst natural disaster, resulting in 31 deaths. Laber’s family, homeless, relocated to New Hampshire, and it was decades before Laber returned to Montana. Laber passed away last year after a long battle with cancer. He left a strong legacy of public artwork. When he returned to Montana in the late 1990s, he enrolled at Salish Kootenai College (SKC) in Pablo to study forestry. After taking art classes on the side, he began making sculpture of warriors, dancers, and wildlife out of reused car parts. Laber’s innovative sculptures depict traditional Native culture using found and salvaged metal. Laber called it "a new twist on an old tradition…to make things out of whatever was handy, and that was handy.” Laber has numerous public works sited across Montana and abroad, notably on SKC’s campus, the University of Montana, the Rocky Boy’s Reservation, and in private collections. Early in his career, Laber won the 1999 People’s

Choice award at the American Indian Higher Education Consortium’s annual conference in Billings with a sculpture of a bison that was later accessioned by the Westphalian State Museum of Natural History in Münster, Germany. Later that year, the Blackfeet tribe and the Montana Arts Council commissioned a set of four sentries to oversee the North, West, South, and East entrances of the Blackfeet Reservation. Laber made them using rusted out cars destroyed in the 1964 flood. This exhibit includes one of Laber's first sentry pieces, made in one of Corwin Clairmont's classes. Laber eventually settled on Post Creek outside of St. Ignatius and launched the ‘Reborn Rez Wrecks’ studio, complete with a yard filled with car parts for materials. A precise craftsman, Laber built large-scale sculpture that weighed hundreds of pounds with tight tolerances. He would meticulously sift through hundreds of parts before selecting and inserting exactly the right piece to suggest or describe an essential detail. An expert at considering all the angles that a sculpture might be viewed, he made his works appear active, kinetic, and full of energy.

Jay Laber: Reborn Rez Wrecks June–October // Missoula Art Park Jay Laber, Pony, 2015–2016, mixed media, 84 x 96 x 50 inches, from the collection of Natalie Laber, photo courtesy of MAM, copyright the artist.



Laura Grace Barrett (1930–2017), Luis Moreno Marai Isadova, no date, mixed media, copyright the artist.


Grace Barrett new exhibitions

MAM Organizes Statewide Traveling Exhibition to Honor Artist by John Calsbeek, Associate Curator

Laura Grace Barrett was a well-known artist, gallery owner and vintner in Bigfork, Montana, for 30 years. After she passed away in 2017, her children created an endowment fund to sustain their mother’s legacy of supporting community arts and culture projects. The Laura Grace Barrett Living Arts Foundation Fund was established at the Montana Community Foundation in June 2018. Her five children recommend grants to “support individuals and organizations that have ideas and projects that create opportunities for arts, culture, entertainment, education and, in general, the enrichment of life, foremost in the immediate Bigfork area, but also to nearby regions.” Although Barrett was a beloved cornerstone of the art community in Bigfork, her work is relatively unknown outside of that area. MAM worked with the family and estate to organize the exhibit, Laura Barrett: State of Grace “as a tribute to a wonderful artist, imaginative gallerist, supportive philanthropist, astute collector, and generous humanist who did not receive her due as an artist while living,” explained MAM senior curator Brandon Reintjes. MAM sponsored the exhibition to travel the state through the Montana Art Gallery Directors Association (MAGDA) and is happy to have broadened exposure to Barrett’s work in Great Falls at the Paris

Gibson Square Museum of Art and in Sidney, Montana, at the MonDak Heritage Center. The exhibition is a survey of work, which demonstrates the diverse range of Barrett’s visual language. The paintings, collages, and found object assemblages that make up the exhibit show a playfulness in a serious practice and an artist with sharp wit and understanding of art history. Barrett was born in 1930 in northeastern Montana in the rural farming community of Froid, where her family grew wheat. At the age of 16, she attended the University of Montana where she studied English, Spanish, and education. She went on to study art at the University of Hawaii and the University of California, Los Angeles, where she received an MFA in theater. She opened Bridge Street Gallery and Wine Café and Restaurant in Bigfork, Montana, Ambos Galeria de Arte y Artefactos in Puerto Vallarta, Mexico, and later Collage Gallery in Bigfork. This exhibition is possible due to loans from Barrett’s family, the estate of the artist, and Barrett’s attorney, Richard M. Baskett. This exhibition was organized as a statewide traveling exhibition by the Missoula Art Museum and is touring under the auspices of MAGDA. MAM is grateful for generous exhibition sponsorship from Laura Grace Barrett Living Arts Foundation Fund.

Laura Barrett: State of Grace May 12–August 22 // Morris and Helen Silver Foundation Gallery Sponsored by Stockman Bank

Left to right: Laura Grace Barrett (1930–2017), Eastside Cottonwood, Prairie Effigy, Road to Froid, mixed media.



continuing exhibitions

MAM Invites the Public to Share the Love By Jennifer Reifsneider, Registrar

What makes a collection active? Authors of the cutting-edge book define it as having good management, policies, and plans that account for mission-driven strategic growth, but mostly, how accessible, useful, and visible the objects in the collection are. In other words, how they best serve audiences. Over the past year, MAM has emerged as a national leader in the trend of active collections (see MAM's Winter/Spring 2019 newsletter, page 12), with exciting audience-driven exhibitions like Love Letters to the Collection. This year-long re-interpretation of MAM’s Contemporary American Indian Art Collection (CAIAC) aims to invite audience and community insights and interpretation. Drawing from the traditions of 49 songs, a Native American social dance and song tradition from the Great Plains, and Ekphrastic poetry, or poetry describing a work of art, this exhibition celebrates the most active part of the MAM Collection. Not only are objects in the exhibition selected by guest curators— including artists, writers, poets, tribal leaders, elected officials, activists, scholars, students, and others—but the audience—you!—are invited to share why certain pieces are so compelling through a writing station, art cart, postcards, emails directly to objects, and with the #MAMLoveLetters on social media. Write a poem! Sing a song! The exhibit progresses as new pieces from the CAIAC are added monthly. MAM will display love letters throughout the run of the exhibition and add them to each object’s collection record. Three works were featured in the first month. Montana poets laureate Melissa Kwasny and Mandy Smoker Broaddus selected a work by Molly Murphy Adams (Oglala, Lakota) and commented, “We were honored and inspired. It's an exciting idea, and a brave one, open and exploratory as art should be.” Chris LaTray, author of Becoming Little Shell and Fact and Fiction bookseller, selected a work by Little Shell artist Donna Loos to commemorate the new federal recognition of the Little Shell Tribe. Carolyn Kastner, author of Jaune Quick-to-See Smith: An American Modernist and former curator at the Georgia O’Keeffe Museum, wrote a love letter to Quick-to-See Smith’s commanding, larger-than-life print Celebrate 40,000 Years of American Art, saying “You’re a manifesto!” What would you say to these works? Send an email today! Love Letters to the Collection March 3–on view throughout 2020 Lynda M. Frost Contemporary American Indian Art Gallery


continuing exhibitions

Narrative Ceramist Sculptor Uses Art As Activism By John Calsbeek, Associate Curator

Stephen Braun moved to Missoula in the 1980s to study anthropology at the University of Montana. When viewing his art, it is important to remember that his interest in human behavior is as long as his art-making. The current exhibition at MAM titled Hindsight and Foresight Are 20/20, presents Braun’s vision of our society controlled by corporations and driven by consumerism. At the turn of the new decade, popular culture and internet memes hailed 2020 as the year of reflection. As the truism states: hindsight is 20/20. The inference is that we learn from mistakes and will make better choices and wiser decisions in the future. Braun’s artwork focuses on the detrimental impacts to the environment and human health in the recent past and which continue today—acid rain due to pollution, oil spills and pipeline leaks, clear-cutting forests. The exhibit features wall-hung work and large, multipiece floor installations. Narrative sculptures in and of themselves are unusual, and large-scale raku is almost unheard of, all of which make him a unique artist. A common trope in Braun’s work is the figure of the white male in a suit and tie representing corporate power and control. He is big oil. He is the gun industry. He is racism. He is corporate-owned media. Ultimately, Braun explains, “The corporate media survives on consumerism. It is their income stream. There is little effort to change this pattern, while at the same time this consumptive drive is making our [planet’s environment hostile for] all life forms to exist.” The content of Braun’s work is challenging and laced with satire but also visually arresting. The figures are nearly lifesized. The suits, shirts, and ties are adorned with painted symbols that range from corporate logos and dollar signs to drawings of molecules—viruses and pathogens. The palette Braun employs is rich with primary colors, soft blues and pastels. The figures appear frozen in a moment and invite interaction with the viewer. In fact, there are two pieces that spin and are set in motion by the viewer. Three faces in a circle, each covered with different images—oil drums, pipelines, and tanker cars spin round and round but no matter where it stops, Braun explains that the answer is always the same. Tongue in cheek, he titled the piece Circular Logic. The physicality and scale of the installation titled Forest of Stacks is impressive. Braun wants to connect with his viewers through his work, and his message is clear, “I do ask that people become more responsible in their decisions. Our decisions are forcing environmental changes.” The saving grace of the work is that it does not come across as selfrighteous or preachy. If hindsight is 20/20, maybe foresight will begin to rule in 2020. Stephen Braun: Hindsight and Foresight Are 20/20 March 3–September 19 // Carnegie Gallery Sponsored by the LH Project Stephen Braun, Big Oil, raku ceramics, 2019, 2 x 36 x 12 inches, installation image courtesy of MAM, copyright the artist.


continuing exhibitions

Exhibit Affirms Transformative, Healing Connections Through Photographic Processes By Brandon Reintjes, Senior Curator

Through deeply personal and poetic bodies of work, Elizabeth Stone (Greenough, Montana) and Linda Alterwitz (Las Vegas) evoke the night sky to suggest that though our physical experiences are earthborn, our imaginations can soar. Stone’s 40 Moons consists of altered photographs of journal entries written by her mother’s caregivers over the course of 40 months, as her mother succumbed to Parkinson’s disease. Layers of handwritten text hide and reveal intimate aspects of her health. Like the phases of the moon, the images wax and wane, but the installation is not linear. “Satellite” images break free to underscore the non-linear progression of disease. Stone acknowledges that the long cycle of grief also brings unexpected transformations. She created and exhibited 40 Moons in 2016, but, while reprinting images for MAM’s showing, she discovered that she was able to reveal more details from the journals. In this new

phase, sharing and letting go of her mother’s experiences are dual aspects of the healing process. Alterwitz’s series Just Breathe represents cycles of experience as well. Forty “breathing portraits” selected from more than one hundred made over several years document the nexus between nature, society, and the individual. She makes the photographs by placing a camera on a person’s chest as they lie on the ground facing sky-ward and taking a 30-second exposure. She likens these records of rhythms and environments to diagnostic imagery—not of internal mechanisms, rather of internal essences and unique moments of living. Her subjects have ranged from family and close friends to doctors, nurses, and hospital staff. Medical professionals were among those most challenged to relax in this intimate space, but their overall transformation from apprehension to fully embracing the quiet experience was most rewarding.

Linda Alterwitz and Elizabeth Stone: Earthborn: 30 Seconds to 40 Moons March 24–August 22 // Aresty Gallery Installation view of Just Breathe by Linda Alterwitz, ongoing series since 2016, photo courtesy of MAM, copyright the artist.


Doug Turman, Love Notes #163, no date, 4 x 6 inches, watercolor, ink and stamps on handmade paper, copyright the artist. upcoming exhibitions

Helena-Based Painter Presents Exhibit of Works on Paper This survey of works on paper by painter Doug Turman includes his Love Notes series, whimsical etchings, and an array of paintings on paper. A master of the small, almost incidental, work on paper, Turman works with obsessive precision and sometimes, as author Rick Newby notes, “extreme looseness and daring,” uniting disparate images from a vast array of influences including Persian miniatures, Matisse’s cut paper, Paul Klee’s modernist paintings, and Kurt Schwitters’ collages. Collectively, they present a sustained artistic vision that has been steadfast for nearly 40 years. A postmodernist at the core, Turman recontextualizes his source material, juxtaposes text and images, appropriates at random, dabbles in Trompe-l'œil, and oblique gestures, and throws in a variety of painterly and cultural references to make satisfying works that are firmly rooted in play, irony, satire, and fun. Turman says, “I think of each frame as a proscenium. Each painting is its own little world. At one point I decided I wanted to be able to paint whatever I could think of.” Turman was born in Seattle and grew up in Missoula, where he studied art with George


Gogas and Lela Autio in high school. He received his BA in fine arts from Oberlin College and MFA from the University of Montana. Between degrees he worked at the Phillips Collection in Washington, D.C., which is one of the first American art museums dedicated to modern art. With his wife Mary Lee Larison, he owned Turman Larison Contemporary, an art gallery in downtown Helena, for 16 years. His current work in painting, printmaking, and photography is strongly influenced by his many trips to Italy, where he teaches painting workshops annually.

Doug Turman: Curious September 4–January 9, 2021 // Aresty Gallery Sponsored by the Holiday Inn Missoula Downtown MAM staff visits Doug Turman’s studio in Helena to plan the exhibition, February 2020.

upcoming exhibitions

Exhibit Examines First-Hand Accounts of Detention Centers in the West

Takuichi Fujii: Witness to Wartime September 4–December 12 // Morris and Helen Silver Foundation Gallery & Shott Family Gallery Curated by Barbara Johns, Ph.D., and traveling through Curatorial Assistance. Takuichi Fujii, Minidoka, montage with fence and landmarks, no date, watercolor on paper, 11.5 x 9 inches, Washington State Historical Society, promised gift of Sandy and Terry Kita, copyright the artist.

This traveling exhibition focuses on Takuichi Fujii (1891–1964), a modernist painter who left a remarkably comprehensive visual record of his experience during World War II as a Japanese American detainee. Curated by Barbara Johns, Ph.D., and traveling through Curatorial Assistance, a nonprofit dedicated to providing high-quality exhibits to museums around the world, this exhibition is based on her research that resulted in the publication The Hope of Another Spring: Takuichi Fujii, Artist and Wartime Witness (2017). Fujii was 50 years old and lived in Seattle when war broke out between the United States and Japan. In a climate of increasing fear and racist propaganda, he became one of 120,000 people of Japanese ancestry on the West Coast forced to leave their homes and be relocated to geographically isolated incarceration camps. He and his family were sent first to the Puyallup temporary detention camp and then to the Minidoka Relocation Center in southern Idaho. Fujii began an illustrated diary that spans the years from his forced removal in May 1942 to the closing of Minidoka in October 1945. In nearly 250 ink drawings, Fujii depicts detailed images of the incarceration camps, and the inmates’ daily routines and pastimes. He also produced over 130 watercolors that reiterate and expand upon the diary, and several oil paintings and sculptures. After the war, Fujii moved to Chicago, which had become home to a large Japanese American community under the governments’ resettlement program, where he continued to paint. This exhibition is presented in collaboration with the Historical Museum at Fort Missoula (HMFM), in recognition of HMFM as an Alien Detention Center during World War II.

upcoming exhibitions

Local Artist Pays Tribute to Powerhouses of Women’s Rights

MAM is proud to present this exhibition of large-scale black-and-white portraits by Missoula artist Kristi Hager depicting the women who populate her life. This exhibition takes place during the centenary observation of women’s suffrage and the 47th anniversary of the Equal Rights Amendment. Considered the largest reform movement in U.S. history, the campaign for women’s voting rights lasted more than seven decades and resulted in the passing of the 19th amendment, which advocates saw as essential to achieving economic, social, and political equality. The Equal Rights Amendment, first passed by the House in 1971 and the Senate in 1972, has yet to be ratified. Hager says, “I thought it would be ratified in my lifetime, but it continues to be a work in progress. It is the legal part of what humans want: political, social, and economic equality. Full equality is the work of lifetimes.” Hager began this series by painting her great-grandmother, mother, goddaughter, friends, and a hero, but the exhibition, as the title suggests, is a work in progress, with portraits continuing to be added to the series. Hager said, “We stand on the shoulders of giants and we are asked to be giants for the next generation. Our time here is short, but important.”

Kristi Hager: Equal, A Work in Progress September 29–February 20, 2021 // Lela Autio Education Gallery, Lobby, and Atrium Kristi Hager, Equal: A Work in Progress, installation at Stoplight Art Gallery. Photo courtesy of the artist, artwork copyright the artist.




FOR TEENS Teen Art Share:

Teens are encouraged to follow @mam_teens on Instagram and post their art using #MAMhomestudio. MAM's Teen Artist Council will work with the curatorial team to curate an exhibition of the art created to be held in MAM's Lela Audio Education Gallery during 2020 (date TBA). The pandemic is impacting what and how we create, share, and exhibit art and we want to hear from you!

FOR FAMILIES Art-Making Worksheets

FREE The whole family is invited to make art together — at home! Instructional worksheets based on our popular Saturday Family Workshops are available online at www.missoulaartmuseum.org. Check back frequently for new projects!

FOR ADULTS Embodied Engagement (NEW Summer Series!)

Kate Crouch and Jenny Bevill Tuesdays through August 11 // 12–12:30 PM pay what you wish Visitors of all ages and abilities are invited to this gentle, guided experience with art that will activate the heart more than the head. During this wellness respite, teachers and MAM staff will offer alternative forms of engagement with art involving breath, stillness, intention, and mindful movement. This session will take place in different exhibitions over the course of the summer, as well as outside in the Art Park, weather permitting. Meets weekly on Tuesdays throughout the summer. Chairs, stools and floor mats will be available. MAM is fully ADA accessible. This event will be live streamed for those wishing to tune in from home.

Programs and events are subject to changes or cancellations. Please visit missoulaartmuseum.org for up-to-date information. 12


Connect with contemporary art at MAM from home! The following programs were developed and expanded while the museum was closed in the spring.

Teachable Course

This curriculum complements the progressive exhibition Love Letters to the Collection. It includes artist biographies, webinars, poetry and much more! Content is added as the exhibition grows each week. Visit missoula-art-museum. teachable.com to learn more.

Museum as Megaphone On Demand

The popular distance learning platform is now a free resource available to parents, teachers, and caretakers who are hungry to integrate art and creativity into their remote schooling. This easy-to-follow curriculum focuses on American Indian artists Rick Bartow and Lillian Pitt, and contains video tours of the museum, artist interviews and more.

A group of school children visiting the museum in January 2020.



Fifth Grade Art Experience (FGAE)

The new Docent Program is in action! During September, October, and November, enrichment meetings will be held on Zoom on the second Tuesday of each month from 10:30 AM to 11:30 AM.

Due to the Covid-19 pandemic, MAM will offer a virtual version of FGAE in the fall. The MCPS Fine Arts Department is excited that MAM will adapt the 35th annual FGAE program to a virtual experience. The successful launch of Museum as Megaphone this winter (see right) in partnership with Inspired Classroom provided the road map for remote learning at the museum. The education staff at MAM are planning a fun and engaging curriculum and hope to partner with the Missoula Public Library in some capacity. Contact Kay GrissomKiely, curator of education, at kay@missoulaartmuseum.org for more information. MAM activates its collection and works on view to provide enrichment opportunities for educators in our community. These hands-on workshops connect with the core values and mission of MAM and share best practices in the field. Email Jenny Bevill, educator and outreach specialist, at jenny@missoulaartmuseum.org for more information, or if you’re interested in becoming a teaching artist.

MAM Professional Development Webinar: MAM as Teacher Resource for Arts Integration

August 25 // 1–2 PM // 2 PIR Credits Offered Learn how to use MAM’s contemporary art exhibitions as a resource to educate students grades K-12. MAM’s education team will share two online resources for teachers to use as a class, or assign for independent work. This workshop will focus on two exhibitions at MAM: Love Letters to the Collection, and Takuichi Fujii: Witness to Wartime. This workshop will also offer an opportunity to connect with other educators and artists to build community. Free and open to all.

Because MAM cannot offer FGAE in person this year, all docent trainings, docent-led tours, and docent volunteer opportunities are on hold until further notice. If you’d like to join the docent email list or become a docent, please contact Jenny Bevill, educator and outreach specialist, at jenny@ missoulaartmuseum.org for more information about this new program. Docents are valued volunteers and receive enrichment, community, and a free membership to the museum year-round.

COMMUNITY OUTREACH Museum as Megaphone

On February 10, MAM launched the Museum as Megaphone program with eight classrooms and 58 students participating live across the state. This free distance learning program took MAM’s Fifth Grade Art Experience (FGAE) to the next level, connecting exhibiting professional artists and artwork with students and teachers from as far away as the Fort Peck and Crow Indian reservations in eastern Montana. Students and teachers were virtually placed inside MAM, looking directly at art, while MAM’s arts educators led students on an inquiry-based tour to engage and promote self-discovery through dialogue and discussion. MAM received national attention from the Association of Art Museum Directors (AAMD) for building this arts-integrated, distancelearning platform. Together with Inspired Classroom, this program brings the art of Rick Bartow (Mad River Band, Wiyot) and Lillian Pitt (Warm Springs, Wasco, and Yakama) to rural and Tribal schools. 13

THANK YOU TO OUR SPONSORS Premier Business Sponsors


MAM serves the public by engaging audiences and artists in the exploration of contemporary art relevant to the community, state, and region. LA N D AC K N O W LE D G E M ENT

MAM is situated on the traditional, ancestral territories of the Séliš (Salish or “Flathead”) and Qlispé (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. 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 R E CTOR S

Betsy Wackernagel Bach (Past President), Stephanie Christensen (Vice President), Lara Dorman, Inge Erickson, Paul Filicetti (Secretary), Matt Gibson, Josh Gimpelson (Treasurer), Amy Leary, Cathay Smith, Amy Sings in the Timber, Kate Sutherland (President), R. David Wilson

Large Exhibition Sponsors


Jenny Bevill, Educator and Outreach Specialist John Calsbeek, Associate Curator Tracy Cosgrove, Deputy Director for Finance & Advancement Madeleine Ford, Development Officer Kay Grissom-Kiely, Education Curator Nicolle Hamm, Visitor Engagement Security Officer Siera Hyte, Education Assistant, Visitor Engagement Security Officer John Knight, Visitor Engagement Security Officer Laura J. Millin, Executive Director Carey Powers, Membership & Marketing Coordinator Jennifer Reifsneider, Registrar Brandon Reintjes, Senior Curator Dylan Running Crane, Visitor Engagement Security Officer M A M I S F U N D E D I N PA RT BY

Small Exhibition Sponsors KBGA Radio The Flower Bed Missoula Community Access Television Stockman Bank MAM Business Members Black Coffee Roasting Company Missoula Wine Merchants Montana Geriatric Education Center


MAM Event Sponsors 120NHiggins LLC Art Vault LLC Bridge Pizza Caras Nursery and Landscape Langel and Associates, PC Maxus Consulting Engineers Rocky Mountain Moving and Storage Slikati Photography University Center at the University of Montana Warm Springs Productions Western Montana Clinic WGM Group Windfall, Inc.

Missoula County and the City of Missoula. Additional support is generously provided by the Andy Warhol Foundation, the Cultural Vision Fund, Montana Arts Council, Montana Cultural Trust, business sponsors, as well as MAM patrons and members. MAM is accredited by the American Alliance of Museums (AAM). MAM and the Missoula Art Park are wheelchairaccessible. MAM staff is available to meet special needs. F R E E E XP R E S S I O N . F R E E ADM I S S I ON.

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