PhxArt Magazine Winter 2024 by Phoenix Art Museum

— CARLOS AMORALES

Opening January 17, 2025

An immersive installation inspired by the annual migration of monarch butterflies + featuring 25,000 black paper forms

Carlos Amorales, Black Cloud, 2007. Paper. Collection of Diane and Bruce Halle.

COVER: Charles Gaines, Numbers and Trees: Arizona Series 2, Tree #12, Sonoita (detail), 2023. Lenhardt Collection. © Charles Gaines.

the artist and Hauser & Wirth. Photo: Keith Lubow

Photo: Charles Darr

Jeremy Mikolajczak

The Sybil Harrington Director + CEO

Donald Opatrny Chair of the Board of Trustees editorial

Betsy Fahlman, PhD

Adjunct Curator of American Art

Helen Jean

The Jacquie Dorrance Curator of Fashion

Claudia López

Bilingual Communications Specialist

Emilia Mickevicius

The Norton Family Assistant Curator of Photography

Colin Pearson

Adjunct Curator of Asian Art

Christian Ramírez

The Cohn Assistant Curator of Contemporary and Community Art Initiatives

Olga Viso

The Selig Family Chief Curator

Rachel Sadvary Zebro Associate Curator of Collections

PHOENIX

2024 – 2025

CHAIR

Donald Opatrny

VICE CHAIRS

David Lenhardt

Andrew Cooper

SECRETARY

Terry Roman

TREASURER

Blair J. Portigal

Ruben E. Alvarez

Alice Bazlen

Drew M. Brown*

Joel Coen

Mike Cohn

Gloria P. Cowen

Jacquie Dorrance*

Carter Emerson

Nancy Hanley Eriksson

Michele M. Feeney

Martin R. Galbut

Eric Garcia

Judy Goldberg

Sara T. Gordon

John W. Graham

Michael Greenbaum*

Lila Harnett*

Oliver Harper, MD

John Horseman

Barbara Noble Howard

Jon Hulburd

Lindsay Jewell

Jane Jozoff

Ellen Katz*

Don Kile

Sally Lehmann

Beth McMullen

Mitch Menchaca**

Jeanne Miraglia

Bettina Nava

Sally Pope

Doris Ong

Rose Papp

Jordan Rose

Vanessa Ruiz

Ann Siner

Iris C. Singer

Rob Taylor

Meredith von Arentschildt

*Honorary Trustee

**Ex-Officio

The busy season is upon us at Phoenix Art Museum, and we couldn't be more excited. After a productive summer and 20+ weeks of renovation, the Museum has made incredible strides in investing in and amplifying the Museum's extensive permanent collection. The Katz Wing for Modern Art reopened in August with collection rotation 1960–Now, anchored by the new site-specific work Number 411 (2024). Created by Leonardo Drew, the monumental installation was acquired into the Museum's collection through the generosity of the Men’s Arts Council and The Opatrny Family Foundation and joins the roster of other large-scale, sitespecific works on our campus by artists such as Dan Graham, Sui Jianguo, Yayoi Kusama, Tom Joyce, and Julian Opie.

In October, the Museum opened The Collection: Greatest Fits (Vol. 1): The Art of Archiving Fashion in the newly expanded Kelly Ellman Fashion Galleries, as well as Charles Gaines: Numbers and Trees (Arizona Series) in the reinvigorated Cummings Great Hall. These renovations have increased the Museum’s gallery space dedicated to the presentation of art, and if you haven’t visited in some time, I highly encourage you to come and explore all the new spaces.

With these changes and others, our commitment to you—our beloved community—remains at the heart of our approach. In response to your valuable feedback, we have reinstated First Fridays and expanded new late-night hours on Thursday and Friday evenings. This shift also marks the beginning of expanded programming, including our popular film program, Films@ PhxArt; a new Create Playdate program featuring regular in-gallery artmaking; and a thrilling lineup of lectures and conversations. Of note, we will welcome blockbuster guest speaker and renowned fashion designer Christian Siriano in December at Arizona Costume Institute’s Holiday Luncheon, an annual

FROM THE DIRECTOR

fundraiser that raises vital support for our renowned fashion collection.

PhxArt Magazine is just one way we highlight these and the many other incredible stories, programs, educational offerings, outreach initiatives, events, and projects led by our dedicated staff and volunteers, including our Board of Trustees. We hope you enjoy reading about everything from a recent mural collaboration between artist Lucinda “La Morena” Hinojos and Marcos de Niza High School, to an upcoming exhibition that showcases the creative force of photographer Richard Avedon and the launch of The 1952 Society.

It goes without notice that none of this is possible without the tireless work of our incredible staff and the generosity of many people, businesses, and foundations who are eager to shape the forthcoming chapter of this great institution. I’d like to acknowledge here the immense generosity of Lee and Mike Cohn, Dionne and Francis Najafi, Marilynn and Carl Thoma, The Flinn Foundation, Men's Arts Council, Arizona Costume Institute, the Opatrny family, and so many others who help build upon the mission and vision of Phoenix Art Museum.

And of course, we express our deep gratitude to you—our Members, donors, patrons, neighbors, friends, and visitors—for your generosity and support of Phoenix Art Museum. Your contributions are invaluable to us, and we look forward to seeing you in the galleries this season.

With gratitude,

Jeremy Mikolajczak

the sybil harrington director + ceo phoenix art museum

MUSEUM NEWS

EXPANDING ACCESS

NEW EVENING HOURS + FIRST FRIDAYS

In response to visitor feedback and as part of the Museum’s new Strategic Plan, PhxArt has shifted its hours of operation so that our community can enjoy additional evening access to their museum.

PhxArt is also excited to share the return of monthly First Fridays. From 5 – 8 pm every first Friday of the month, visitors will again enjoy free general admission to PhxArt, with discounted rates to view special-engagement exhibitions. Programming includes a resident DJ, sketching in the galleries, a cash bar, and other programming. PhxArt will continue to open for weekly PayWhat-You-Wish Wednesdays, now from 3 – 8 pm.

NEW HOURS OF OPERATION

Wednesday – Friday

10 am – 8 pm

Saturday – Sunday

10 am – 5 pm

First Friday

5 – 8 pm

Pay-What-You-Wish Wednesday

3 – 8 pm

Pay-What-You-Wish Wednesdays are made possible through the generosity of SRP and the City of Phoenix. First Fridays are made possible through the generosity of APS and Lexus.

MILITARY DISCOUNT

PhxArt now offers discounted admission to active-duty U.S. military personnel and veterans throughout the year. Qualified members must show a valid ID on-site to receive $5 off general admission tickets.

PHXART RELEASES FIRST STRATEGIC PLAN IN NEARLY A DECADE

In Spring 2023, PhxArt embarked on the strategic-planning process, the institution’s first in almost 10 years. Over 12 months, a core task force of Trustees and representatives from executive and senior leadership, with the guidance of Shan Strategies, envisioned the next five years in the Museum’s history, drafting new mission, vision, and values statements and outlining the strategic priorities, goals, and actions that will align every Museum division in the common pursuit of excellence and an audience-centered approach. The larger Board of Trustees and several staff working groups representing all levels of Museum operations workshopped and provided feedback at each stage.

The 2024-2030 Strategic Plan of Phoenix Art Museum was approved by the Board of Trustees in May 2024. We are proud to share our new mission and vision statements here, in this issue of PhxArt Magazine.

MISSION

Phoenix Art Museum creates spaces of exchange and belonging for all audiences through dynamic exhibitions, collections, and experiences with art.

VISION

Phoenix Art Museum leads and instills pride in the cultural landscape of Greater Phoenix through art experiences that fuel participation and exchange.

THE 1952 SOCIETY

In honor of the founding Board of Directors of Phoenix Art Museum, which first met in 1952—seven years prior to the Museum's official public opening—PhxArt has launched The 1952 Society. This esteemed, honorary society recognizes all former Museum Trustees who have donated so generously of their time, energy, and resources to the success of Phoenix Art Museum. New members are automatically inducted after completing one full board term of three years, and in honor of their service, society members enjoy annual recognition and events, along with exclusive views into the ongoing operations and strategic direction of PhxArt.

READ OUR 2024-2030 STRATEGIC PLAN

LENHARDT LECTURE EAMON ORE-GIRON

In November, PhxArt welcomed acclaimed visual artist Eamon Ore-Giron during the Museum’s Fall 2024 Lenhardt Lecture, a key component of the David and Dawn Lenhardt Contemporary Art Initiative. Based in Los Angeles, Ore-Giron is known for synthesizing formal histories to explore the visual, auditory, and experiential possibilities of cross-cultural influence in his abstract geometric paintings. During his presentation at PhxArt, Ore-Giron previewed his newest site-specific commission— inspired by the Arizona desert he grew up in—which will be unveiled in the Museum’s Greenbaum Lobby in Spring 2025.

NEW TRUSTEES

BETH MCMULLEN

SENIOR VICE PRESIDENT OF GLOBAL OPERATIONS, AVNET, INC.

At Avnet, McMullen is responsible for leading the company’s Salesforce Center of Excellence and Global Data Management functions, in addition to overseeing the Logistics team and the Program Management Office. She joined Avnet in 2010 as part of the Global Information Systems team and continues to play a critical role in Avnet’s global initiatives and transformations.

LINDSAY JEWELL MANAGING PARTNER, DENTONS ’ PHOENIX OFFICE

As the Managing Partner of Dentons’ Phoenix Office, Jewell’s transactional practice focuses on the hospitality industry. She works on local, multistate, and portfolio real-estate transactions, with significant experience representing clients in matters involving hotel acquisitions, dispositions and development, construction financing, and operational and structuring matters. She previously served on the boards of the Herberger Theater Center, where she was the inaugural chair of the DEI taskforce, and the Harvard Club of Phoenix. Jewell and her partner, Charles, enjoy international travel and exploring the art scene everywhere they visit.

JEANNE MIRAGLIA

PHXART DOCENT + OWNER, JEANNE MIRAGLIA DESIGN

A former teacher, Miraglia is the owner of her own business in realestate development and design. She is an active member of her community, with a volunteer history at Lake Tahoe School, Incline Village, Phoenix Country Day School, and Art Odyssey AZ, and is also a PhxArt Docent. Miraglia and her husband, Chad, have three children. Along with serving and supporting her community, she enjoys hiking, pickleball, skiing, and anything to do with the outdoors.

The Lenhardt Lecture is made possible throught the generosity of the Dawn and David Lenhardt Contemporary Art Initiative.

ON VIEW

SPECIAL-ENGAGEMENT EXHIBITIONS

Charles Gaines: 1992–2023 Through March 9, 2025

Charles Gaines: Numbers And Trees (Arizona Series) Through July 20, 2025

FEATURED EXHIBITIONS

Larry Bell: Improvisations Through January 19, 2025

Chardi Kala: Rising Above Adversity Through November 23 , 2025

THE COLLECTION

Divinity and Devotion in Tibet

Exchanges East & West Through August 24, 2025

Greatest Fits (Vol. 1): The Art of Archiving Fashion Through February 8, 2026

Keith Haring @ PhxArt December 6, 2024 – July 20, 2025

ONGOING INSTALLATIONS

1960–Now

American Modern

American Abstraction During the Thirties and Forties

American Scenes/Americas Seen

Philip C. Curtis and the Landscapes of Arizona

Sublime Landscapes

The Muse of New Mexico

Yayoi Kusama: You Who are Getting Obliterated in the Dancing Swarm of Fireflies

You Are in Cowboy Country

SUPPORT FREE ACCESS TO ART

Did you know that PhxArt offers more than 300 free-access hours to our shared community each year? That’s an astounding $1 million in free admission that we give away annually thanks entirely to generous donors and community members who, like us, believe that art has the power to transform lives and should be accessible to everyone, regardless of background, circumstance, or ability.

CONSIDER A GIFT TO PHXART THIS HOLIDAY SEASON AND HELP SUPPORT FREE-ACCESS HOURS. NO GIFT IS TOO SMALL TO MAKE AN ENORMOUS IMPACT.

ABOVE: Thomas Struth, Pergamon Museum I, Berlin, 2001. C-print. Museum purchase with funds provided by The Levitt Family in honor of Norman and Betty Levitt, and Contemporary Forum. Courtesy of Phoenix Art Museum. Photo: Charles Darr

ROSE* + HARRY PAPP**

Current* and Former** Trustee

21st Century Society Members

Supporting Phoenix Art Museum since 1979

We were both fortunate to receive arts and cultural education in school when we were young, but unfortunately, arts education for young people in our school systems is much more limited today. Phoenix Art Museum plays an important role in providing arts education to the community. Art is not only about beauty; it’s also about learning different perspectives from diverse points of view that can enrich and expand who we are and how we experience our world. Supporting Phoenix Art Museum is a concrete way we can ensure arts education lives on in Arizona for future generations.

for children that will showcase works from the Museum’s collection (our grandkids will love it). The Museum is also an important part of our estate planning; we’ve long been involved with the Museum’s planned giving group, the 21st Century Society.

SUPPORTING PHOENIX ART MUSEUM IS A CONCRETE WAY WE CAN ENSURE ARTS EDUCATION LIVES ON IN ARIZONA FOR FUTURE GENERATIONS.

The Museum has also been incredibly important to our family. We first got involved with the Museum 45 years ago through Harry’s parents, Marilyn and Roy Papp, who were longtime PhxArt supporters. We have made wonderful friends among former and current staff members. We also have lots of friends who we met through the Museum and enjoy spending time with them at various Museum functions. Through the years, our support has continued to grow. We were fortunate to fund a gallery in the Art of Asia Wing honoring Harry’s parents and are pleased to be able to help fund a forthcoming publication

As we consider where Phoenix Art Museum is today, we are excited to see it experiencing great success in attracting support for both current operations and the endowment, but we’ve also learned important lessons from the Great Recession and the COVID pandemic. The Museum’s endowment needs to grow to ensure its success and impact on future generations. That’s why we support the Museum not just through annual giving and other gifts, but also through planned giving. We encourage others to consider a legacy gift to the Museum as well.

Thank you, Phoenix Art Museum, for beauty, happiness, teaching, and learning.

IN COMMUNITY EDUCATION + ENGAGEMENT

Meet Lucinda “La Morena” Hinojos, a Chicana and Indigenous artist whose vibrant journey begins in Glendale, Arizona, immersed in the rich traditions of Mexican American culture. With maternal roots in the Pascua Yaqui, Apache, and Akimel O'odham tribes, La Morena’s artistry reflects a deep connection to her heritage. An internationally recognized muralist and painter, she is also a dedicated small-business owner and a mother of three. Her life and work are a celebration of the colors and stories that define her, transforming walls into canvases that resonate with cultural significance.

From a young age, La Morena was captivated by the world of creativity, recalling the distinct scent of oil pastels wafting through her elementary school classroom. Her artistic path took shape as she studied computer graphic animation and began taking drawing classes, and she eventually recognized her innate talent around the age of 15. However, her primary focus was sports; she played soccer for Glendale Community College. And as time went on, life’s demands led her to take a break from art while raising her family.

It wasn’t until around 2011 that a spark was reignited. Inspired by graffiti artists, La Morena dove into the Phoenix art scene, quickly establishing herself within the local community. By 2012, she had made a name for herself in Phoenix’s underground art circles, but it was 2015 that marked a transformative chapter in her career.

Photo courtesy of the artist.

A pivotal mural project became the catalyst for La Morena’s artistic and personal awakening. Located at 2nd Street and Washington in Downtown Phoenix, this collaboration with the Colibrí Center for Human Rights, Just Seeds Art Collective, and a group of visiting artists resonated deeply with her. At the time, she was working at a bank and became involved with the project after a friend invited her to guide the visiting artists. The mural, depicting two colibrís (hummingbirds), served as a poignant response to Arizona’s controversial S.B. 1070 and emerged as a symbol of hope for migrant communities.

Over a decade later, the colibrí remains a recurring motif in La Morena’s work, embodying her ancestors’ spirit and resilience. In 2023, this iconic image reappeared in Downtown Phoenix as part of her largest mural

project to date—one commissioned by the National Football League for Super Bowl LVII. True to her collaborative spirit, La Morena brought together talented artists from her community to represent the diverse Indigenous identities that thrive in the Valley. For her, art is a community endeavor, and each brushstroke is infused with prayer and intention, a way to share the land’s blessings through vibrant colors.

This year, Phoenix Art Museum and the Men’s Arts Council (MAC) partnered to commission a community installation led by La Morena. Collaborating with student artists from Marcos de Niza High School in Tempe, they created Reflections of Us, what La Morena calls “a celebration of diversity, heritage, and selfdiscovery.” The colorful installation, on view in the Community Art Gallery in the Museum’s education and administration building, premiered at the Indigenous Peoples’ Day Phoenix Fest Launch Party in October and provided students with valuable experience learning how to make a cohesive large-scale work. More than that, the initiative deepened their understanding of how art can serve as a powerful tool for exploring and conveying complex social and personal themes.

In the words of La Morena, “Reflections of Us invites you to experience the richness of our shared humanity and to appreciate the powerful role that heritage plays in shaping our present and future.” The installation is on view now through February 2025.

Jan Brewer appealed the case to the U.S. Supreme Court. On

Advanced students that created self-reflective independent works, with La Morena's guidance.

La Morena and the students of Marcos de Niza High School, Reflections of Us, 2024. Commissioned by the Men's Arts Council.

LINE BY LINE

CHARLES GAINES: 1992 – 2023

Through March 9, 2025

Steele Gallery

CHARLES GAINES: NUMBERS AND TREES (ARIZONA SERIES)

Through July 20, 2025

Cummings Great Hall

A preeminent figure in conceptual art, Charles Gaines is widely known for converting images and text-based documents into numerical structures, musical notations, and other sign systems through rigorous translation mechanisms. Producing artworks in all media, including painting, drawing, sculpture, photography, sound, and video, Gaines explores a range of subjects including race, class, and climate change, considering how we, as individuals and as members of a larger society, perceive and make meaning from the visual signs and symbols that surround us.

Born in 1944 in Charleston, South Carolina, Gaines began his career as a painter. In the 1970s, his practice shifted dramatically from an investigation of color and form to a more conceptual one grounded in mathematical and numeric systems. This approach ultimately led to his exploration of the nature of human perception and the investigation of sociopolitical concerns and content.

Charles Gaines, Submerged Text: Signifiers of Race #11 (full & detail), 1993-2023.

UV print on acrylic, paper, acrylic paint on wall. Installation dimensions variable.

© Charles Gaines. Courtesy the artist and Hauser & Wirth. Photo: Zachary Balber

Organized by the ICA Miami and on view at Phoenix Art Museum, Charles Gaines: 1992–2023 explores the artist’s evolution from the early ’ 90s on, particularly when his practice took on even greater political and social dimension, incorporating materials abundant with preexisting cultural meaning. Working with texts such as Franz Kafka novels and stories by Irish modernist James Joyce, Gaines uses his systems to address issues of race and identity in politics in innovative ways that extend beyond representation. Selecting passages from novels, short stories, and essays, he implements rules that extract words related to racial identity and racist stereotypes, such as black, dark, useless. He floats these words on monochrome fields, with the remaining original text represented by numbers.

With this approach, Gaines effectively creates new texts of profound ambiguity, leaving viewers to consider: do images and words ever hold inherent meaning, or are their meanings always constructed, informed by political discourse, personal and collective histories, education, and privileges that each of us bring to our interactions and understanding of the world?

Installation views of Charles Gaines: 1992-2023. Phoenix Art Museum. Photo: Charles Darr

THE FORMAL OR VISUAL EFFECTS THAT YOU SEE ARE NOT A PRODUCT OF MY IMAGINATION, OR MY INTEREST, OR MY INTENTION. THEY’RE SIMPLY PAINTING BY NUMBERS.

- CHARLES GAINES

On view concurrently with the survey from ICA Miami is Charles Gaines: Numbers and Trees (Arizona Series). Trees have been a consistent motif in Gaines’ practice since the 1970s, and this exhibition, in the Museum’s newly renovated Cummings Great Hall, highlights a recent series that focuses on cottonwood trees.

To create Numbers and Trees: Arizona Series 1, Gaines photographed cottonwoods along the San Pedro River outside Sierra Vista in southeast Arizona. From there, he plotted number systems and transcribed the images into abstract representations. He also assigned a different color to each individual cottonwood tree so that when the trees were overlayed, viewers can discern the subtle, individual variations in the shape of branches and leaf canopies.

Through this process, Gaines again removes his own artistic hand, instead allowing the system he’s devised to produce the artwork. Even Gaines admits to being delighted by unexpected color combinations and spatial forms that he himself could never have predicted.

“The formal or visual effects that you see are not a product of my imagination, or my interest, or my intention,” Gaines notes. “They’re simply painting by numbers.”

Charles Gaines: 1992–2023 is organized by the Institute of Contemporary Art, Miami, and curated by Gean Moreno, Director of ICA Miami’s Knight Foundation Art + Research Center. Its presentation at Phoenix Art Museum is coordinated by Olga Viso, The Selig Family Chief Curator and Director of Curatorial Affairs, and made possible through the generosity of Men’s Arts Council, Carl and Marilynn Thoma, the National Endowment of the Arts, Hauser & Wirth, Ellen and Howard C. Katz, and Ten Figures. In-kind support provided by Kimpton Hotel Palomar Phoenix.

The presentation of Charles Gaines: 1992–2023 at the Institute of Contemporary Art, Miami was made possible through major support provided by Hauser & Wirth, the Nicoll Family Fund, and The Steven and Kathy Guttman Family Foundation. Additional support was provided by Funding Arts Network and by the State of Florida through the Division of Arts and Culture and the National Endowment for the Arts. Thanks to ICA Miami’s Leadership Partner Cartier for their support of this exhibition.

Charles Gaines: Numbers and Trees (Arizona Series) is organized by Phoenix Art Museum and curated by Olga Viso, The Selig Family Chief Curator and Director of Curatorial Affairs. It is made possible through the generosity of Men’s Arts Council, Carl and Marilynn Thoma, Virginia G. Piper Charitable Trust Exhibition Endowment Fund, the National Endowment for the Arts, Hauser & Wirth, Ellen and Howard Katz, Jane and Mal Jozoff, Ten Figures, and Avnet.

All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.

installation view of Charles Gaines: Numbers and Trees (Arizona Series).

Photo by Charles Darr.

AS ARIZONA GROWS, WE STRIVE FOR OUR MUSEUM TO EVOLVE, CELEBRATING DIVERSE CULTURES AND INSPIRING FUTURE GENERATIONS THROUGH A BLEND OF INNOVATION AND TRADITION, WHERE VISITORS EAGERLY RETURN, OFFERING NEW AND MEANINGFUL EXPERIENCES.

ON ADVERTISING

Supporting Phoenix Art Museum since 2024

Eric Garcia, Owner/Partner & Chief Creative Officer

Supporting the arts is essential for the growth of Arizona’s business, education, and community development. Art drives creativity and innovation, offering new perspectives on complex issues. ON Advertising, Phoenix's largest minority-owned agency, first endorsed Phoenix Art Museum out of a profound commitment to our community and a passion for nurturing creativity across generations. Beyond physical space, the Museum represents a transformative journey, a sanctuary where artists, including myself, discover inspiration and engage with diverse artistic expressions.

As a member of the Board of Trustees, my dedication to the Museum goes beyond personal interest. Since relocating from New Mexico to partner with ON Advertising in Downtown Phoenix, I have witnessed firsthand how PhxArt enriches our cultural landscape. My involvement in a creativity-driven industry only strengthens my commitment to supporting the arts, as it is deeply integrated into the essence of being creative. Being a donor and participating in this transformative change is fulfilling and inspiring, and I am particularly inspired by the Museum’s initiatives to support local artists by providing them with a platform to showcase their creativity.

As Arizona grows, we strive for our museum to evolve, celebrating diverse cultures and inspiring future generations through a blend of innovation and tradition, where visitors eagerly return, offering new and meaningful experiences. ON Advertising is proud to partner with Phoenix Art Museum to support this important work.

Pictured:

OUTSIDE THE BOX

If you’ve ever lived in a California coastal town, you know fog —in your bones.

Maybe you became acquainted in San Francisco, Pacifica, San Bruno, or Carmel. Perhaps your morning suntan plans were foiled in Santa Monica, Manhattan Beach, Del Mar, San Diego. The meandering clouds (termed “advection fog”) move in horizontally off the Pacific Ocean, hugging low to the ground, as cool sea breeze meets warmer air on land and moisture condenses. First, the fog overtakes the shoreline. Then, it inches through lush, rolling hills. Eventually, it blankets entire swaths of landscape.

LARRY BELL: IMPROVISATIONS

On view through January 19, 2025

Katz Wing

l arry Bell, The Porch Piece, 2024. Laminated glass. Larry Bell Studio, Collection of Lee and Mike Cohn. Installation view of Larry Bell: Improvisations, 2024. Phoenix Art Museum.

The first artwork viewers encounter when they enter the special exhibition Larry Bell: Improvisations at Phoenix Art Museum is a large-scale standing wall inspired by fog, specifically the morning haze of Venice Beach. Born out of southern California’s Light and Space movement, Larry Bell opened his studio in Venice in 1960. Titled The Porch Piece, the cubic form is an ode to a weather effect the artist knows intimately. The outer layer of semi-transparent glass evokes mist, chilling the senses, and just beyond, nestled within, rises a red rectangular structure, whose vibrance—meant to represent the sun— is filtered, stifled. But viewers who work their way around the piece will note that the foggy glass layer (color: “sea salt”) does not fully encase the central beam. Instead, the outer cube’s sides taper to right triangles, revealing fully the red beacon. What a relief it is when the sun’s light and warmth finally break through the fog of the day.

Bell first premiered large cubic works inspired by the marine layer of Venice Beach in 2018. According to the announcement from the gallery Hauser & Wirth, they showcase the artist’s “interpretation of the luminosity created by the dispersion of water in the fog intermingling with the lights of Los Angeles’ desert plain.” Like his fellow Light and Space artists who arose in the 1960s and ’70s, Bell centers his practice on the relationship between light and geometric space, particularly the cube. He began creating glass cubes shortly after attending art school (which he left after two years) and went on to break ground with a cuttingedge, high-vacuum coating technique that deposits a thin metal film onto glass panels. The process enables

him to play with the way light is reflected, transformed, absorbed, and ultimately perceived by the eye.

Similar to The Porch Piece, all cubic works in Larry Bell: Improvisations are minimalist by definition, resolute in their sense of order, harmony, and simplicity. But the effect they have on viewers is anything but minimal. Audible gasps are common in the gallery space, as viewers discover the iridescent perfection of each smooth surface. Every cube, every right angle is a full, contained world of light, color, reflection—a pure visual delight.

The exhibition also showcases Bell’s mixed-media collages. Subjected by the artist to a vacuum tank and mounting press, the works made with heat, light, and vapor-coated paper confound the eye, appearing 3D from straight on but then flat as a pancake when viewed from the side.

Candidly, still images do not do Bell’s sculptures and collages justice. They must be experienced to understand that their ephemerality and delicate radiance cannot ever be fully described in writing or contained in a single, static photograph. Bell’s work is striking, and we’ve been struck.

Larry Bell: Improvisations is organized by Phoenix Art Museum and curated by Rachel Sadvary Zebro, Associate Curator of Collections at Phoenix Art Museum. It is made possible through the generosity of Lee and Mike Cohn and Meredith and Charles von Arentschildt.

Installation view of Larry Bell: Improvisations, 2024. Phoenix Art Museum. Photo: Charles Darr.

THE COLLECTION: 1960-NOW

Ongoing

Katz Wing

RISE UP

After nearly 20 years since the opening of its Katz Wing for Modern Art, Phoenix Art Museum unveiled in August refreshed contemporary art galleries with a new layout, design, and celebratory installation. Curated through the collaborative efforts of Christian Ramírez, The Cohn Assistant Curator of Contemporary and Community Art Initiatives; Olga Viso, The Selig Family Chief Curator and Director of Curatorial Affairs; Rachel Sadvary Zebro, Associate Curator of Collections; and Destiny Montoya, Association of Art Museum Directors Curatorial Intern, The Collection: 1960Now challenges canonical narratives in art history.

The expansive installation is organized in thematic groupings that consider how artists across generations expand and unravel the histories of 20th-century art movements such as Abstract Expressionism, Light and Space, Transcendentalism, Pop, Minimalism, and Conceptual art. But instead of centering works of well-known artists such as Andy Warhol, Roy Lichenstein, and others considered iconic to their respective art movements, 1960-Now proposes new icons, with a specific focus on Arizona-based artists and artists who have been historically overlooked, including women and artists of color.

1970.

Marisol Escobar, Parrot Fish (Pez loro),

Wood, varnish, plastic and oil.

Gift of Mr. and Mrs. Alvin Haas

The section Popular Imaginaries, for example, is anchored by Parrot Fish by Mariá Sol Escobar. The Venezuelan American artist, known as Marisol, achieved celebrity status as a Pop art icon after her first exhibition at the Leo Castelli Gallery in 1957. A close friend of Andy Warhol, she also appeared in Warhol’s early films. As her career thrived in the 1960s—and as she rose in tandem with Warhol—the media (including The New York Times) and her peers often positioned Marisol as a “girl artist,” undercutting her impact on the Pop art movement and the way her practice influenced her contemporaries. This included Warhol himself, who once described her as “the first girl artist with glamour!”

Slowly, Marisol became disillusioned with the art world, and following her debut at the 1968 Venice Biennale, she withdrew from the spotlight, retreating to Tahiti where she became a certified scuba diver. Her sculpture at the center of the installation’s Popular Imaginaries section is from her ‘aquatic period,’ produced when she lived in Cozumel, Mexico. The carved wooden form is in the shape of a fish, but with a resin cast of her own face. It draws inspiration from Mesoamerican carvings that feature animal and totemic figures and considers the tensions between self-representation and the perception of one’s self by outside forces.

Two pieces by Warhol also appear in Popular Imaginaries, but positioned along a wall toward a corner of the space, they take a visual backseat to Marisol’s Parrot Fish. Warhol’s Indian Head Nickel is displayed next to a work by the same name created by Jaune Quick-toSee-Smith (Salish, French-Cree, Shoshone, b. 1940), on loan from the Heard Museum, and this pairing is yet another example of how 1960–Now offers an expanded view on Pop art, demonstrating how artists of subsequent generations build upon and challenge the strategies of some of the movement's biggest names. With similar vignettes across all sections of the major installation, where curators have placed underrecognized artists in conversation with well-known artists of their time, 1960–Now asks us all to consider how “art icons” are made—and who gets to hold the title.

The Collection: 1960 – Now is organized by Phoenix Art Museum and curated by Christian Ramírez, The Cohn Assistant Curator of Contemporary and Community Art Initiatives; Olga Viso, The Selig Family Chief Curator and Director of Curatorial Affairs; and Rachel Sadvary Zebro, Associate Curator of Collections, with Destiny Montoya, Association of Art Museum Directors Curatorial Intern.

NEW COMMISSION

On your next trip to PhxArt, be sure to visit The Collection: 1960-Now in our contemporary art galleries to experience the Museum’s newest large-scale, site-specific work, Number 411 (2024) by Leonardo Drew, recently acquired through the generosity of Men’s Arts Council and The Opatrny Family Foundation. Although Drew’s works appear to amass found objects, they are, in fact, made from “new” materials that he degrades or alters with various methods of decay. He uses natural materials, such as wood, cotton, iron, and paper, and subjects them to transformative processes like burning, rusting, and weathering to create sculptural works and freestanding installations that consider the cycle of life, decay, and rebirth.

To learn more about Number 411, 2024, scan the QR code to download the Bloomberg Connects app and hear directly from the artist.

Leonardo Drew, Number 411, 2024.

Wood, paint, plaster, cotton, metal. Museum commission with funds generously provided by Men’s Arts Council and the Opatrny Family Foundation.

Richard Avedon, Dovima with elephants, evening dress by Dior, Cirque d'Hiver, Paris, August 1955.

THE EYE OF THE BEHOLDER

Richard Avedon, one of the most influential photographers of the 20th century, transformed the aesthetic conventions of photography with his striking portraits and innovative approach to fashion imagery. But his career, spanning six decades, was marked by more than his iconic photographs. It was also shaped and influenced by his deep relationships with other artists and creators.

Richard Avedon: Among Creatives, the latest exhibition co-organized by Phoenix Art Museum and the Center for Creative Photography (CCP) in Tucson, showcases more than 50 works from the CCP collection that highlight how some of Avedon’s most distinctive portraits demonstrate both his creative brilliance and his connections with other creative icons. Avedon had an uncanny skill for bringing out the personalities of his subjects, creating an electric atmosphere in front of the camera every time. His famous image Dovima with elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955, for instance, encapsulates both elegance and spontaneity, showcasing his raw talent and the dynamic interplay he nurtured with his models.

But Avedon’s creative circle was not limited to the fashion world. He formed close bonds with artists, writers, musicians, and filmmakers, many of whom influenced his artistic vision. The profound friendship he shared with poet and playwright Edward Albee and their conversations on the nature of art and the human condition sparked a fire that would fuel Avedon’s work throughout his lifetime. The photographer also became friends with novelist Truman Capote after taking his portrait in 1955, at the nascent stages of the writer’s career. He and Capote would remain friends (Capote once referred to Avedon as a “beloved collaborator”), and the two even worked together on a book titled Observations, which featured Avedon’s portraits and a running narrative by Capote. On view in Among Creatives, Capote’s portrait, along with those of other celebrities like Marilyn Monroe and Andy Warhol, are testaments to Avedon’s ability to see beyond an icon’s public persona and instead reveal their private struggles, showcasing his skill in evoking raw emotion.

Avedon’s extraordinary vision, which transcended traditional photography of his time, not only redefined photographic portraiture but also unveiled the intricate

RICHARD AVEDON: AMONG CREATIVES

December 6, 2024 – May 25, 2025

Norton Photography Gallery

web of influence that artists often weave among themselves—even across genres and modes of expression. As visitors explore the exhibition, they are reminded that Avedon’s legacy extends beyond his stunning images; it resides in the emotional truths he unearthed—including his own—offering a rare glimpse into the man behind the lens and encouraging us all to look beyond the surface.

Richard Avedon: Among Creatives is co-organized by Phoenix Art Museum and the Center for Creative Photography. Its presentation at Phoenix Art Museum is curated by Emilia Mickevicius, PhD, the Norton Family Assistant Curator of Photography, and is drawn from the larger traveling exhibition, Richard Avedon: Relationships, curated by Rebecca Senf, PhD, Chief Curator at the Center for Creative Photography.

All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation, with additional significant support provided by Joan Cremin.

Richard Avedon, Marilyn Monroe, actor, New York, May 6, 1957. Gelatin silver print. Center for Creative Photography, University of Arizona: Richard Avedon Archive/Gift of the artist, 89.107.10. Copyright © The Richard Avedon Foundation

Unknown, Portrait of a Woman, 19th century. Reverse painting on glass. Gift of Ms. Clare Malone

EXCHANGES EAST AND WEST

Through August 24, 2025

Art of Asia Wing

HERE AND THERE

While caravans traversed the Silk Road, the legendary network of Eurasian land routes active from the second century BCE to the 15th century, sailors traversed a vast network of routes known as the Maritime Silk Road. These shipping routes connected the kingdoms of the Indian Ocean and China Seas and, by the 9th century, were vibrant with trade, particularly exported ceramic wares that traveled from East Asia to Southeast Asia and the Middle East.

In the 16th century, European sailors entered the Indian Ocean networks, as the Portuguese, Dutch, French, Spanish, and British trading companies established colonies and expanded their reach into the Asian continent. A new installation in the Art of Asia Wing at Phoenix Art Museum explores some of the crosscultural exchanges that occurred as traders of the period carried goods and ideas between the continents.

Exchanges East and West presents more than 100 artworks that all demonstrate how trade and travel impacted artistic output in Asia between the 13th and 20th centuries. Visitors encounter hybridized forms, including ceramics, paintings, woodblock prints, and textiles, that unite eastern and western motifs, techniques, and perspectives, yielding objects that were highly prized in Europe, the Americas, and throughout Asia.

A reverse glass painting from the Qing dynasty period is a stunning highlight that embodies a remarkable history of exchange spanning centuries. Evidence of reverse glass painting, wherein artists paint on transparent glass by applying the finest details first and then layering on broader areas of color, dates back as early as the Assyrian (circa 2025 BCE–609 BCE) and Phoenician (circa 1550–300 BCE) civilizations. It was also a common practice

during the Byzantine Empire (circa 395 CE–1453), used to create religious artwork and iconography.

The first records of reverse painted glass in China appear in the early 1700s, when the Qianlong Emperor (r. 1735–1796) received examples as gifts from European monarchs. The Emperor was so taken with the artform that he established a reverse glass painting workshop at the Imperial Palace, and the first export versions were produced in Canton (Guangzhou) in the 1750s.

Portrait of a Woman (19th century) is an outstanding example of Chinese reverse glass painting. Following traditional technique, the subject’s eyebrows, facial features, and small details—such as the orchid she holds in her hand symbolizing feminine beauty and loyalty— would have been painted onto the transparent surface first. The artist would then have layered the larger areas of black and pink, before finishing with a final layer of the vibrant cerulean we see as the painting’s background. Such a process requires intensive planning and careful application. The result is a painting of stunning depth and dimension, delicacy and distinction. Such pieces were highly popular in the British and American markets, just as European examples were popular with members of the Qianlong Emperor’s court.

See this work and more in Exchanges East and West, on view through August 24, 2025.

Exchanges East and West is organized by Phoenix Art Museum and curated by Colin Pearson, Adjunct Curator of Asian Art. It is made possible through the generosity of the Papp Family Foundation.

All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation, with additional major support provided by Joan Cremin.

THE COLLECTION: GREATEST FITS (VOL. 1): THE ART OF ARCHIVING FASHION

On view through February 8, 2026

Kelly Ellman Fashion Galleries

FROM FRANCE TO PHXART

In its heyday, the Palace of Versailles hosted the grandest fashions of the period. After all, it was the principal residence of King Louis XIV, who revolutionized the clothing styles of 17th-century French aristocracy. But once an iconic destination, graced with incredible beauty and extravagance, Versailles by the 1970s was in disrepair. To help restore it to glory, the Palace’s head curator, Gérald Van der Kemp, turned to Eleanor Lambert, founder of the Council of Fashion Designers of America, who conceptualized a fundraiser that would bring highfashion back to the halls of Versailles, this time in a David-versus-Goliath fashion faceoff.

Named the Battle of Versailles Fashion Show, the fundraiser pitted five French designers against five American designers. Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Marc Bohan (thencreative director of Christian Dior), and Emmanuel Ungaro represented the French, while the U.S. sent Roy Halston, Oscar de la Renta, Stephen Burrows, Bill Blass, and Anne Klein. The stipulations were clear: five models, eight looks per designer, may the best country win.

Although the French had an hours-long runway show (featuring a performance by Josephine Baker, pumpkin carriages, and a full orchestra), the Americans came out victorious with a presentation of flowy garments that hugged the body and easily transitioned from day to night, representing the future of modern, feminine dress. The Battle catapulted the U.S. into international recognition as a major fashion force.

Roy Halston, Dress (detail), 1973.

Paillettes, silk chiffon. Gift of Mrs. Alvin N. Haas.

The fashion collection at PhxArt is resplendent with impactful fashion histories such as this rainbow dress designed by Halston that walked the runway during the historic Battle of Versailles and is now featured in Greatest Fits (Vol. 1): The Art of Archiving Fashion, the newest collection rotation in PhxArt’s Kelly Ellman Fashion Galleries. The installation is the first in a series that uncovers the incredible depth of the Museum’s fashion holdings, home to thousands of iconic works— such as Halston’s Battle of Versailles contribution—that hold deep significance in shaping a larger fashion history.

The Art of Archiving Fashion begins by exploring the history of Arizona Costume Institute (ACI), a support group founded in 1966 to support the acquisition and preservation of garments and accessories of historical and aesthetic significance. Today, through the generosity of ACI and many generous donors, the PhxArt fashion collection houses more than 9,000 objects of women’s, men’s, and children’s dress spanning the 18th century through the present. The Museum remains one of few across the U.S. that actively collect, preserve, and exhibit fashion.

In the installation’s second gallery, visitors encounter a graphic timeline of all-black silhouettes that have defined fashion history across 18 decades. The stunning display is followed by vignettes on significant fashion “happenings” and themes that demonstrate the strength of PhxArt’s fashion holdings. Along with Halston’s dress from the Battle of Versailles, viewers discover outstanding examples of Greco/Roman medieval-inspired dress, the innovative prowess of designers such as Issey Miyake and Patrick Kelly, and playfully chic sporting attire. The installation also provides an opportunity to consider avant-garde fashion as soft sculpture, ending with an ensemble from Viktor&Rolf inspired by the COVID-19 pandemic.

The Art of Archiving Fashion is on view into February 2026. Considered a "living exhibition," visitors will see new rotations of garments at planned intervals throughout the run of the show, making it one to experience many times over the next 18 months.

The Collection: Greatest Fits (Vol. 1): The Art of Archiving Fashion is organized by Phoenix Art Museum and curated by Helen Jean, the Jacquie Dorrance Curator of Fashion at Phoenix Art Museum, with Catherine Wise, the Hirabayashi Intern in Fashion, and Summer Rye, intern. It is presented through the generous support of Thomas Carlton Rogers II, Jacquie and Bennett Dorrance, the Kelly and Steve Ellman Fashion Endowment Fund, and Arizona Costume Institute. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.

TOP: Gianni Versace, Dress, 1994. Rayon, acetate, silk, metal and rhinestones. Gift of Mrs. Kelly Ellman; Clutch Crowns by Clutch Jewelry, Reflection’s Revenge: Safety Pinned, 2024. Handwoven brass, aluminum and vintage safety pins. Lent by Stacy Renee Eden; BOTTOM: Mary McFadden, "Tiffany Window" Gown, 1992. Glass beads, pearls, sequins, silk embroidery floss, and rhinestones with crystal pleated synthetic skirt. Gift of Mrs. Bennett Dorrance. Installation views of The Collection: Greatest Fits (Vol. 1): The Art of Archiving Fashion, 2024. Phoenix Art Museum.

FASHION DESIGN

Do you have a passion for fashion and philanthropy? Are you looking for a way to get more involved in the arts community while gaining access to fashion curators, models, designers, and other industry professionals?

Join Arizona Costume Institute today.*

*An active PhxArt Membership is required

Coco Chanel, Short beaded lace evening dress,

Silk satin, crystal beads, lace and silk ribbon.

Gift of Mrs. Wesson Seyburn

KEITH HARING

December 6, 2024–July 20, 2025

Rineberg Gallery

Gift of Sette Publishing Company. © The Keith Haring Foundation

In 1986, artist and activist Keith Haring, widely recognized for his Pop art featuring energetic lines, collaborated with Phoenix Art Museum at the invitation of Bruce Kurtz, the Museum’s then-curator of 20th–century art. Haring, who was at the height of his career, designed marketing materials for the 1986 exhibition American Art of the 1980s. That same year, he led a mural workshop for the Phoenix community, in conjunction with another exhibition, Focus on the Image: Selections from the Rivendell Collection, which featured one of his untitled works. Haring later worked with Kurtz again, this time to conceptualize the 1991 exhibition Haring, Warhol, Disney, organized by PhxArt. Unfortunately, the artist passed away in 1990 before the iconic show opened in Phoenix.

The Collection: Keith Haring @ PhxArt celebrates the impactful relationship between Haring and the Museum during this vibrant period. Featured works include prints and sculptural works, archival materials documenting his visits, and bespoke marketing materials Haring created for PhxArt in the 1980s.

The Collection: Keith Haring @ PhxArt is organized by Phoenix Art Museum and curated by Christian Ramírez, The Cohn Assistant Curator of Contemporary and Community Art Initiatives, with Aspen Reynolds, Archivist, and Charlotte Quinney, Interpretation Manager. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.

KEITH HARING @ PHXART

Keith Haring, Untitled, 1987. Color lithograph.

LEGACY GIFTS ARE A WAY TO SAY 'THANK YOU' TO THE ORGANIZATIONS THAT HAVE GIVEN SO MUCH TO US IN OUR LIFETIMES.

Every year of our 30-year relationship with Phoenix Art Museum has deepened our appreciation for the value the Museum adds to our community and personal lives. I became a Docent in 2000, eventually joining the Board of Trustees in 2015, and today, I still proudly serve as both a Docent and Trustee. As a Docent, experiencing the Museum through the eyes of visitors, seeing their excitement and surprise at the quality of our art and exhibitions, brings great pride and the motivation to find new ways to connect with people through art. Being a Trustee is its own privilege, allowing me to witness the ‘behind the scenes’ work required to bring PhxArt to life.

The Museum also enriches me personally with its exhibitions. I connected deeply with the recent exhibition Juan Francisco Elso: Por América. Elso was my contemporary, and it was humbling to compare what he was thinking and creating in his late 20s and early 30s to what I was doing at that same age. The exhibition also brought back vivid memories of the Cuban Missile Crisis and inspired me to study the history of the relationship between the United States and Cuba.

The exhibition Barbie®: A Cultural Icon Exhibition reminded me that art can work magic, connecting generations of visitors through memory sharing. A highlight was touring seven women from different parts of the country who had gathered for a bachelorette party and included a visit to PhxArt on their agenda. It made me so proud of what we offer to the cultural and social landscape of Phoenix.

These experiences, in addition to reading the new Strategic Plan the Museum has recently shared,

ALICE + JIM BAZLEN

21st Century Society Member, Trustee, and Docent Supporting Phoenix Art Museum since 1994

have provided such a clear understanding of all the people, priorities, and controls in place that drive this institution forward. Because of them, my husband, Jim, and I are inspired to support the Museum not only with volunteer time but also financially through a legacy gift.

Legacy gifts are a way to say 'thank you' to the organizations that have given so much to us in our lifetimes. Beyond the friendships, entertainment, and education we’ve been gifted by the Museum, we’ve come to appreciate the important impact the Museum has on our community and the city of Phoenix. Through our gift, we are making a difference in the future of Phoenix Art Museum, helping to build its endowment and ensure that it thrives as a place of connection for our children, our grandchildren, and generations of Phoenicians. We encourage others to do the same as they are able.

Join us this spring for a rock & roll romantic evening, with dinner under the stars, dancing, and the Phoenix premiere of The World of Anna Sui, featuring the imaginative, pop-culture inspired universe of the iconic American fashion designer.

pARTy CHAIRS: Jordan Rose + Rob Walton Jay Franke + David Herro

afterpARTy CHAIRS: Andrew + Jennifer Cooper

For sponsorship opportunities and details, please contact specialevents@phxart.org

All proceeds support exhibitions and educational programming at Phoenix Art Museum.

THANK YOU

Phoenix Art Museum gratefully acknowledges the generosity of our Circles of Support Members whose annual gifts benefit our exhibitions, educational programs, and services for the community.

This list recognizes Circles of Support donors who made a gift between March 1, 2024 and September 30, 2024. Institutional donors, 21st Century Society members, Corporate Council members, and Museum Members at the Fellow level will be acknowledged in the Spring issue of PhxArt Magazine

DIRECTOR'S CIRCLE

Allison and Robert Bertrand

Katharine and Nicholas J. Feduska, M.D.

TRUSTEE'S CIRCLE

Anonymous

Heather and *Michael D. Greenbaum

Lois and John Rogers

*Iris and °Adam Singer

CURATOR'S CIRCLE

°Roberta Aidem

Jett and Julia Anderson

David and Susan Berman

Richard and Ann Carr

Jenna and John Condas

°Joan D. Cremin

Dean and Taylor Griffin

°Dr. and Mrs. Meryl Haber

Judith Hardes

John G. Inch

Carol and Kenneth Kasses

Ina Smeets-Kort and Jim Kort

Eugene & Janet Lerner

Family Foundation

Matthew and Mary Palenica

°Angela Singer

Nancy Swanson

Charles and Vonnie Wanner

°Mr. and Mrs. Louis A. Weil III

BENEFACTOR'S CIRCLE

Philip and Lydia Bell

Karen and Gary Bethune

°Donna and Gus Boss

Linda Cohen

Oscar De las salas and Gary Jackson

Pam Del Duca

Dr. Paul and Amy Gause

Paul Giancola and Carrie Lynn

Richardson

Chip and Janet Glaser

°Richard and Susan Goldsmith

Cheryl J. Hintzen-Gaines

and Ira J. Gaines

Dr. Jamie and Peggy Kapner

°Margot and Dennis Knight

Brian Kordansky

Judy and °Alan Kosloff

Ann and Joan Mason

Amy Menousek

Nathaniel Meek

Rotraut Moquay

Michael and Kathleen Norton

George Sheer and Linda Porter

Lucia Stellato

Christopher Stuart and Shahlla

Zahedi

Dr. William Weese

PATRON'S CIRCLE

Anonymous (3)

Judy Ackerman and Richard Epstein

Bert and Jill Alanko

Caralee Allsworth

Milena and °Tony Astorga

°Peter and Pari Banko

The Bayless Family

Mathis and Barbara Becker

Neil Berman

Nancy and Joe Braucher 

Carol and Larry Brecker

Dorothy Bron

Sumner Brown and Lyn Bailey

Iris Cashdan-Fishman and Spencer Cashdan

Marc and Mary Ann Cavness

Jennifer and Bill Clark

Marilee and David Clarke

Elaine and Sidney Cohen

Shelley Cohn and Mollie C. Trivers

The Honorable Sam Coppersmith and The Honorable Alicia Lawler

Richard Corton

Janet and John Cotton

Nissa Dell and Terrence Glomski

Jim and Betsy Donley

L. Michael Dye

Katherine Emery and Bob Coons

John Engen and Lisa Spahr

Katalin Festy-Sandor

Noel and Anne Fidel

°Jack Fields, III

Dr. and Mrs. Lawrence Finkel

Amy Flood and Larry West

Allison Gee

Elton Gilbert

Jeffrey and Angela Glosser

Laurie and Charles Goldstein

Victoria and Rod Granberry

Ashley Harder

Michael Hawksworth and Anna Sokolova

Maxine Henig and Jodi Freeman

Wally and Martha Martin Henkel

Mimi Horwitz

Tim Hundelt

Catherine M. Jablonsky

Gigi Jordan and Bob Patterson

Ellen and Bob Kant

Kathy and Fred Kenny

Drs. Jasleen Khanuja and Nathan Punwani

°Dr. Parvinder Jit Singh Khanuja and Parveen Kaur Khanuja

Eleanor and Bruce Knappenberger

Susan Kovarik and Brian Schneider

°Carolyn R. Laflin

Bruce and Jane Lawson

Catherine L. Lemon

Benjamin and Lucinda Lenhardt

Jan and Tom Lewis

Jerry Lewis

Dr. Dorothy Lincoln-Smith

Dr. and Mrs. Robert F. Lorenzen

Lynne Love

Mr. and Mrs. Daniel G. Maloney

Logan and James Mandes

Merle Marcus

Katherine and Randal May

Arthur Messinger

Sherrell Miller

Eliot and Doris Minsker

Mike and Cindy Moore

Judee Morrison

°Patricia E. Nolan

Liz O'Brien and Steve Emrick

Kenneth O'Connor and Deedee Rowe

Leah Pallin-Hill and Bryan Hill

Ashok and Rita Patel

David and Mary Patino

Jody Pelusi

Ms. Mary Beth Herbert and Mr. Cecil Penn

Phyllis and James Rector

Carolyn Refsnes Kniazzeh

Gail Rineberg

Mary and Tom Sadvary

James and Linda Saunders

Jennifer and Michiel Schuitemaker

Fred and Arleen Schwartz

Morton Scult

Donald and Dorothea Smith

Lynne Smith

Judy and Bud Stanley

James L. and Jean Stengel

Irene H. Vasquez, in memory of Mildred B. Williams

°Miriam and Yefim Sukhman

Christy Vezolles

Annie Waters

Gerald H. Weiner

Mildred B. Williams

Stephen and Jeanne Winograd

Georgia Ray and R. Stephen Wolfe

Delwyn and Diana Worthington

Mr. and Mrs. Michael Zuieback

LIFETIME CIRCLE

Anonymous

Linda and Jim Ballinger

Sandy Chamberlain and David Kest

Gary Egan

Mark Koenig and Joel Vogel

Woody and Nancy Spivey

* Board Member

Board Member

IN MEMORY GOLDTHWAITE “G.H.” DORR III

SOMEONE IS SITTING IN THE SHADE TODAY BECAUSE SOMEONE PLANTED A TREE A LONG TIME AGO.

- WARREN BUFFETT

In this issue of PhxArt Magazine, readers will find a brief overview of the Museum’s new Strategic Plan—a roadmap for the next five years that will help us envision what the Museum can become for our community and region. But the foundation of that plan—the seed of a communitycentered approach to arts engagement—was planted decades ago, with the leaders, volunteers, arts advocates, and donors who came before us all.

One such leader was former Museum director Goldthwaite “G.H.” Dorr III, who on June 27, 2024, passed away at the age of 92. Born in New York City, Dorr was an adventurous spirit. He attended schools up and down the eastern seaboard, and during his youth, he and his family traveled extensively, spending time in New York, Canada, Paris, Brussels, and Turkey.

As one might expect of an art-museum director, Dorr carried a lifelong love for art, interested in both scholarship and history and how art can impact a community. He received his Bachelor of Fine Arts degree from Harvard University and a master’s degree in Museology from the University of Minnesota, eventually beginning his museum career as curator at the Minneapolis Institute of Art. From there, he served

as director of the Santa Barbara Museum of Art, Phoenix Art Museum (1969-1973), and the Portland Art Museum in Maine. He also served as President of the Board of Trustees at the Shemer Art Center in Phoenix, where he lived most of his life until spending his final years in Washington state.

As PhxArt director, Dorr assumed the leadership role just as the institution celebrated its 10th anniversary, and his innovative and community-minded approach would define his tenure. In 1970, just one year after his appointment, the Museum’s Docent program grew significantly, with volunteer educators donating more than 17,000 hours of service, the equivalent of eight full-time staff positions. Then in 1972, with the support of the newly empowered Docent corps, the Museum expanded its reach beyond the galleries, bringing arts education to elder-care centers across Phoenix. The Museum continues this initiative today with its community outreach talks, which now serve senior centers across the entire Valley.

As director, Dorr also oversaw significant changes to the Museum’s exhibition program. In 1971, the Museum established the Phoenix Biennial, a juried, invitational exhibition featuring artists from Colorado, New Mexico, Utah, and Arizona. Then in 1973, PhxArt partnered with Cowboy Artists of America to present the first of many annual exhibitions and sales of contemporary Western American art. That same year, Dorr curated the First International Motorcycle Art Show, the first museum exhibition to position motorcycles as works of art. This exhibition paved the way for the Museum to present future exhibitions such as Curves of Steele (2007) and Legends of Speed (2019), which examined the artistry of automobiles and race cars.

James K. Ballinger, the Museum’s Sybil Harrington Director Emeritus, recalls of Dorr:

“I always enjoyed his beaming smile in the audience at many programs. He helped build the Museum’s foundation by ramping up interest in art of the American West through exhibitions on Maynard Dixon, Walter Ufer, and the famed Eugene Adkins collection. He was also instrumental in bringing the annual Cowboy Artists of America show to Phoenix.

A life-long devotee of photography, Dorr arranged various exhibitions on Manuel Álvarez Bravo, Ansel Adams, Bruce Davidson, and others. And an innovative and controversial exhibition, First International Motorcycle Art Show, demonstrated his adventurous side and was way before its time.”

It was this ability to take risks and dream that made Dorr’s directorship at PhxArt so impactful. His commitment to the arts and relentless pursuit to build connection and community lives on through every employee, volunteer, donor, and supporter of our museum.

AN AUDIO X VISUAL EXPERIENCE

DILES QUE NO ME MATEN

PHOENIX SYMPHONY KJADE

CELICA SANJE AFROPIANO

RAQUEL DENNIS VALGUR

EXCLUSIVE VISUAL-ART INSTALLATIONS

SITE-SPECIFIC PERFORMANCES

ART-ENGAGEMENT PROGRAMS

LOCAL FOOD + SPECIALTY COCKTAILS

SATURDAY JANUARY 25 2025

10 am – 10 pm

TICKETS

aveS 20% on most purchases in-store and online.* Non-Members Save 10% on most purchases in-store and online* with code MSS2024.

PhxArt Members

purpose + extra savings this December.

Members + non-Members can shop with

MUSEUM STORE SUNDAY

1 Join us this holiday season for special shopping days, featuring a little extra discount —on us!

Get 20% off most regularly priced items.* Shop in-store during Museum hours (first 100 in-store purchases receive a free tote!), or shop online for a leisurely experience from home.

Are you a PhxArt Member?

MEMBERS ONLY!

NOVEMBER 29 + 30

1. Philip C. Curtis

The Wanderers

2. Florine Stettheimer Easter Picture

3. Lew Davis The Rebel (Elizabeth Ruskin)

4. Rufino Tamayo Dos figuras en rojo (Two Figures in Red)

5. Charles Gaines Numbers and Trees: Arizona Series 1, Tree #3, Agua Caliente

6. Marguerite Zorach Deer in the Forest

7. Thomas Moran Zoroaster Temple at Sunset

Pachanga Familiar

Piece Puzzle

Museum Passport

Calder Playing Cards

Acrylic 4-in-a Row Game

Cuboro 32 Marble Track Set $325.00

Giant Hamburger Stool

Joseph Stella: Visinary Nature

The Unbelievably Fantastic Artists’ Sticker Book $49.95 3. Portrait of a Woman: Art, Rivalry, and Revolution in the Life of Adélaïde Labille-Guiard $29.95 4. Florine Stettheimer: Painting Poetry $45.00 5. Glorious Qing: Decorative Arts in China, 1644-1911

Richard Avedon: Relationships

Charles Gaines: Palm Trees and Other Works

Haori with White + Red

Extra Large Peacock Earrings

Art Deco Bolo Tie

Robert Indiana LOVE Knit Beanie

Spike Blue Mamba Backpack

Veiled Wool Felt Pillbox Hat

Stone

Chris Klein Glass Ornaments

Plush Red Pointsettia

Judaica Candle

BECOME A PHXART MEMBER AND SAVE 10% ALL YEAR LONG + MORE DURING SPECIAL DISCOUNT DAYS.

The Museum Store @ PhxArt brings art into your everyday, with books, art prints, modern design, jewelry, and one-of-akind wares created by Arizona-based artists and artisans. This holiday season, share the gift of art with loved ones or treat yourself to artful items sure to ignite imaginations, brighten living and work spaces, or evoke deeper reflection on our shared world. Every purchase supports vital operations and education programs at Phoenix Art Museum.