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A U G U S T– N O V E M B E R 2 0 1 8



A U G U S T– N O V E M B E R 2 0 1 8

Amada Cruz The Sybil Harrington Director and CEO Jon Hulburd Chair of the Board of Trustees

EDITORIAL STAFF Executive Editor | Nikki deLeon Martin Managing Editor | Samantha Andreacchi Associate Editor | Paula Ibieta Contributing Editors Christian Adame, Assistant Education Director Janet Baker, PhD, Curator of Asian Art Margaree Bigler, Public Relations and Digital Communications Manager Betsy Fahlman, PhD, Adjunct Curator of American Art Carolyn Greene, Curatorial Assistant, Asian Art Kaela Saenz Oriti , the Gerry Grout Education Director Lani Hudson, Marketing and Audience Development Manager Josselin Salazar, Web and Social Media Coordinator Dennita Sewell, the Jacquie Dorrance Curator of Fashion Design Michelle Sparks, School Programs Manager Gilbert Vicario, the Selig Family Chief Curator Rachel Zebro, Curatorial Associate of Modern and Contemporary Art Editorial Intern | Sky Jordan Creative Director | Michael Bartley Graphic Designer | Chanda Curiel-Miller Photography Contributor | Airi Katsuta

602.257.1222 602.257.2124 602.257.2173 602.257.2115

24-Hour Information Membership Office Volunteer Office Circles of Support

CONNECT WITH US @phxart 1625 North Central Avenue Phoenix, Arizona 85004-1685







CONTENTS A U G U S T– N O V E M B E R 2 0 1 8

6 7 8 10 12 14 37

Letter from the Chair Letter from the Director The Checklist Arts Engagement Program Educator Programs Thank You On View

38 39 42 44 45 46

Why We Give Acknowledgments | Circles of Support Western Art Associates: 50th Anniversary Museum News The Museum Store From the Vault

15 Contemporary Forum Award and Grants Recipients

30 Present Tense: Selections from the Lenhardt Collection

16 Moonage Virtual Reality

32 Warriors of World War I: Sikh Art and Heritage

18 Rauschenberg and Johns: The Blurring of Art and Life 20 In the Company of Women: Women Artists from the Collection 24 Teotihuacan: City of Water, City of Fire

Saintly Soldiers of the Sikh Faith

34 Modern Simplicity: Selected Gifts from Elaine and Sidney Cohen 36 Picasso REMIX

ON THE COVER | image credit: Incensario, 350-450. Ceramic, mica, and mineral pigments. Zona de Monumentos Arqueológicos de Teotihuacán / INAH. Image courtesy of Fine Arts Museums of San Francisco. image credits: (top, left to right, from second) Matt Magee, Star Map 1 (detail), 2018. Oil and graphite on panel. Courtesy of the artist; Robert Rauschenberg, Passport (from Ten from Leo Castelli) (detail), 1967. Color screenprint on three rotating plastic discs. Gift of Barney Dreyfuss II © Robert Rauschenberg Foundation; Sterling Ruby, WIDW. BALLISTIC. (detail), 2017. Acrylic, oil, elastic and cardboard on canvas. Lenhardt Collection. (opposite page) Installation of "Teotihuacan: City of Water, City of Fire" at the de Young Museum. Image courtesy of the Fine Arts Museums of San Francisco.







Jon Hulburd

Carter Emerson and Meredith von Arentschildt


Mark Feldman


Ryan Backlund Craig R. Barrett Matthew Boland John J. Bouma Donald Brandt Jo Brandt Drew M. Brown* Amy Clague* Larry Clemmensen Mike Cohn Joan Cremin Denise Delgado Jacquie Dorrance* Eileen Elliott Judy Goldberg John W. Graham Michael Greenbaum* Paul Groves Meryl Haber, M.D. Diane Halle Nancy Hanley Lila Harnett* Tim Jones Jane Jozoff Ellen Katz Ken Kendrick Parvinder Khanuja M.D. Margot Knight Alan W. Kosloff Sally Lehmann David Lenhardt Sharron Lewis Judy Linhart Dennis Lyon* Lori Massey Garrett McKnight Francis Najafi Rose Papp Jim Patterson Blair J. Portigal Kimberly F. Robson David Rousseau Deanna Salazar Suzanne Selig Ann Siner Angela Singer Raymond Slomski *Honorary Trustee


of the Board of Trustees

This time of year is when we, at the Museum, begin to reflect on what we accomplished over the past months. That might seem strange; after all, it’s only August. But at Phoenix Art Museum, our fiscal year, much like a school year, runs from July 1 through June 30. As a result, the summer is traditionally a time of reflection for us. July 1 marked the conclusion of my first year serving as the chair of the Board of Trustees. This was a year of learning experiences, of coming to a deeper understanding of the important role that the Museum plays in our community. What I am most proud of are the ways in which the Museum serves as a whole-life institution of learning and connection, helping people to engage with the arts at every stage of their lives. For children, the Museum offers a number of opportunities, including school tours, outreach activities, and Discount Tire Free Family Sunday, so the youngest members of our community can immerse themselves in the arts and art-making, inspiring an early love for and comfort with arts and culture. For teens, there are Teen Nights, which provide a safe space for teens to explore the Museum and their own creativity, as well as the Teen Art Council, a paid opportunity to learn about working in a museum and helping to grow new audiences. For young people, Millennials, Xennials, and Gen Xers, First Fridays and AfterHours provide a unique night out with friends and a chance to reconnect with a place they may not have visited since they were kids. The Museum also hosts dozens of weddings each year, where we get to see our guests celebrate the most important moment of their lives, right here with us. For families, there are numerous family-centered programs for parents and children to engage in together, many of which are offered at little to no cost so there are never any economic barriers to art education. And as our guests enter their golden years, the Museum’s creative-aging programs offer a chance to make new friends and interact with art in creative and fulfilling ways. For example, this year the Museum presented its first Senior Prom, which featured a live 1950s-themed band and art-themed bingo. One of our guests arrived wearing the dress she had first worn to her own prom—in the 1950s! Phoenix Art Museum has truly become a center for community for every transition moment of our lives. On behalf of the entire Board of Trustees, we are proud to be a part of it, and we are eternally grateful for the support of our volunteers, guests, and donors and the Valley’s philanthropically minded organizations who make it all possible. With gratitude,


Chair of the Board of Trustees Phoenix Art Museum




ith the end of the Museum’s fiscal year, it seems appropriate to look back at the season and all we have accomplished together. As many of you know, the Board of Trustees and staff have made the financial sustainability of the Museum a priority, and we will end this year once again with a surplus, for the third year in a row. The Museum’s Trustees continue to be the most consistent and generous supporters of our mission, but the Museum also received funding from our corporate friends as well as local and national foundations (some for the first time). I am proud that Phoenix Art Museum embarked on several collaborations last year with other museums. Past/Future/Present was a joint curatorial effort with the Museum of Modern Art, São Paulo, in Brazil, and Valeska Soares: Any Moment Now was co-organized with the Santa Barbara Museum of Art. (Both exhibitions were curated by the Shawn and Joe Lampe Curator of Latin American Art Vanessa Davidson, PhD). The Sheila Pepe exhibition, curated by Selig Family Chief Curator Gilbert Vicario, is still on a tour through three U.S. museums. All three shows were accompanied by exhibition catalogues produced by Phoenix Art Museum. The fascinating and popular Iris van Herpen show was loaned to the Museum by the High Museum of Art (Atlanta) and the Groninger Museum (the Netherlands). Dennita Sewell, the Jacquie Dorrance Curator of Fashion Design, beautifully installed this show and also presented the delectable exhibition A Tribute to James Galanos. Thanks to the generosity of multiple Trustees this past season, the Museum has three newly named galleries. Long-time supporters Rose and Harry Papp donated numerous significant works of Chinese painting from the collection of Harry’s late parents, Marilyn and L. Roy Papp, who passed away in 2016 and 2011, respectively. The Khanuja family’s largesse inaugurated a new gallery dedicated to Sikh art, one of only two in the United States, with loans from their collection. They also sponsored a lively Sikh art film screening and symposium. Janet Baker, the Museum’s curator of Asian art, has been a great steward of these efforts. Dawn and David Lenhardt established the Dawn and David Lenhardt Contemporary Art Initiative, which supports an annual lecture by an internationally renowned artist and helps the Museum acquire works by emerging contemporary artists. The Lenhardts have also loaned the Museum works of contemporary art from their personal collection for our community to enjoy. We are incredibly grateful to these visionary donors for their dedication to the Museum and the people of the Valley. I also want to acknowledge the hardworking Trustees, volunteers, and staff who produced three successful fundraisers for the Museum. The season began with the Brazilian-themed Hot Night, winter brought the packed-house Independent Woman Luncheon, and in March, we ended with a truly amazing Luncheon of Legends, with a moving tribute to and conversation with baseball legends Hank Aaron and Bud Selig.

“I want to thank you all for your roles in this effort, because it truly does require ‘a village’ to accomplish great things. We could not have done it without you.”

On a less glamorous but equally vital note, this year the Museum began the renovation of its art storage vault and (surprise) asbestos abatement. The Museum’s collections will have a spiffy new, state-of-the art home by August that will ensure their care and conservation for many years. Because the catalyst for the renovation was some necessary sprinkler-system work, which will continue throughout most of the Museum over the next year, don’t be surprised if you see your favorite galleries temporarily closed, as virtually all of them will be affected at some point. We have worked hard to ensure as few overlaps in gallery closures as possible to guarantee the best experience for our guests. These are only a few of the things we did together. In the meantime, I want to thank you all for your roles in this effort, because it truly does require “a village” to accomplish great things. We could not have done it without you. With gratitude,


The Sybil Harrington Director and CEO Phoenix Art Museum LETTER FROM THE DIRECTOR




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



Explore the art world through a satirical lens, and celebrate characters who show moral courage in the face of uncertainty.

Join us for the seventh installment of The Whole Story, a popular series featuring storytellers who bring greater depth and breadth to our understanding of the Black experience in America.

Sponsored by Contemporary Forum and Lisa Sette Gallery.


August 15 | 6:30 pm


Contemporary art gallerist Madeleine falls for Adrian, a brooding music composer in this comic satire on modern art.

August 12, September 9, October 14, November 11 | noon – 5 pm

Through the generosity of Discount Tire Company, general admission to the Museum is free with discounted specialexhibition admission on the second Sunday of each month. Guests enjoy a day of special performances and engaging experiences with art for all ages.



Photo courtesy of Magnolia Pictures.

September 12 | 6:30 pm Academy-Award® Best Foreign Language Film nominee The Square tells the story of a museum curator whose good intentions go awry.

Presented by the Steele Foundation Through September 30, children under the age of 18 enjoy free admission to Phoenix Art Museum thanks to a generous grant from the Steele Foundation. The program, PhxArt Open for Kids, presented by the Steele Foundation, provides free youth admission during normal admission hours, as well as free admission to special-engagement exhibitions during voluntary-donation times.

September 7 | 7:30 pm


All Museum Members are welcome to join Amada Cruz, the Museum’s Sybil Harrington Director and CEO, and the Board of Trustees for the 2018 Annual Meeting. Amada Cruz will reflect on the Museum’s successes over the past year and offer a preview of the year ahead. Open to Members. RSVP to


Explore, create, and recharge at College Night. College Night is free for all college and university students with ID. Students also receive a discounted $2 ticket to Teotihuacan: City of Water, City of Fire.


Join Arizona Costume Institute, a support group of Phoenix Art Museum, for an elegant, fashion-filled event.

FOR TICKETS, VISIT TICKETS.PHXART.ORG For more details and a full listing of events, visit our events calendar at 8


In Other News



n light of the 2017 flood at Burton Barr Library, Phoenix Art Museum and the City of Phoenix are collaborating to update the Museum’s emergency fire sprinkler system on an advanced schedule. As a result, the Museum will close galleries on a staggered schedule throughout 2018 and 2019. “We are committed to doing everything in our power to protect our visitors and preserve our collection in case of an emergency,” said Amada Cruz, the Museum’s Sybil Harrington Director and CEO. “These renovations are in the best interest of our entire community and the artworks held in the public trust, and we are grateful for the support we have received from the City of Phoenix.”

2018 CLOSURES: July 23 – September 8 Cummings Great Hall November 12 – December 28 Lower-level Katz Wing – Modern and Contemporary Art

Originally constructed in the 1950s, with expansions in 1996 and 2006 designed by architects Tod Williams and Billie Tsien, the Museum’s building is owned and partially maintained by the City of Phoenix. Prior to the recent renovations, routine maintenance of the Museum’s emergency fire sprinkler system in its vaults was already underway.


With the City’s support, the Museum will now be able to complete what would have been a five-year renovation in approximately one year. Updates will not only repair the current sprinkler system but extend the life of the system as well.

July 1 – August 20 Greenbaum Lobby

The Museum has opted to stagger the work and the resultant gallery closures to ensure that community members will continue to enjoy the Museum’s collection over the next 12 months. Accommodations have been made to relocate beloved artworks whenever possible to ensure that guests will be able to view their favorite objects throughout the year. Gallery closures for 2018 and 2019 are listed here. Please note that dates may be approximate and subject to change, and additional closures may occur.

April 1 – June 28 First floor Katz Wing – Modern and Contemporary Art

Entrance to the Museum through Greenbaum Lobby will still be permitted. Access may be partially restricted.

August 26 – November 22 Third-floor Katz Wing – Modern and Contemporary Art, including Norton Photography Gallery Dates are approximate and subject to change. For the most up-to-date information on sprinkler-system renovations and gallery closures, visit sprinklersrenovation.



MILESTONE MOMENT A decade of combating dementia through the arts


n 2018, Phoenix Art Museum celebrates the tenth anniversary of its Arts Engagement Program (AEP), a nationally renowned program that brings the benefits of visual arts to adults with mild to moderate forms of dementia (including Alzheimer’s disease) and their care partners. Founded in 2008, AEP began as a two-year, grantfunded pilot program led by the Maricopa Partnership for Arts and Culture and Banner Alzheimer’s Institute, who were inspired by the Meet Me at MOMA program, a similar initiative launched by The Museum of Modern Art in New York City in 2006. Phoenix Art Museum was one of three institutions, including Scottsdale Museum of Contemporary Art and Phoenix Symphony, that participated in the pilot. After witnessing the positive effects of the program on community members, the Museum began offering AEP all year long. “Art is an extremely effective way to engage people with dementia,” said Heather Mulder, Outreach Senior Manager at Banner Alzheimer’s Institute. “Through art, individuals can bypass difficulties in verbal communication and cognition that Alzheimer’s disease creates, and find other ways to communicate and express themselves.” Over its decade-long history, AEP has served hundreds of individuals experiencing dementia and their care partners. The goal of the program is to improve the quality of life for community members by providing direct engagement with art objects that help trigger personal stories and insights, tapping into emotional memory as short-term memory deteriorates. The program also includes conversational gallery experiences and tactile activities with a teaching artist in an art studio, helping to encourage positive social

experiences in a welcoming, safe, lively, and judgmentfree environment. As a result, the Museum becomes a reprieve from medical appointments and daily caretaking activities. Care partners in particular experience positive health outcomes, specifically stress reduction and increased social bonds with their partners. “The Arts Engagement Program is a direct manifestation of the Museum’s mission because we are truly helping to make people’s lives better through art,” said Assistant Education Director Christian Adame. “It’s important to understand that someone with dementia is so much more than a label or the disease. They are people who have lived full lives and want to continue to grow and learn. Through AEP, we honor their stories and the incredibly rich experiences they have to share with us.” Currently, the Museum serves AEP participants through two annual sessions. However, Adame plans to expand the program both on and off site to make it more accessible for the Valley’s sprawling and increasingly diverse populations. “This program is an important reminder that healing doesn’t only take place in healthcare settings,” Adame said. “AEP demonstrates the undeniable potential of art to improve not only the quality of life of individuals but the larger health and well-being of our communities struggling with these realities.” The Arts Engagement Program is generously supported in honor of Helen L. Wolfe. The Arts Engagement Program is supported through The Shawn and Joe Lampe Fund.


Dementia is a general term for a decline in mental ability severe enough to interfere with daily life. Memory loss is an example. Alzheimer’s disease is the most common type of dementia. Definition courtesy of Alzheimer’s Association (




Married couple Orpha and Jim Smith have been participating in AEP for five years. In their words, they describe what AEP means to them. Orpha: Coming to the Museum has been good for me. The social time at the Museum has inspired me to spend more time with my friends, and looking at art helps me know that I’m awake. I’m so glad I’m participating in this group because I still want to learn. I’m not too old. I’m not a grandma in a rocking chair. At the Museum, I make art that I get to share with my grandkids so they see what Grandma is doing. We can talk about what we do, and we have something to share. Jim: My experience with AEP has been positive. It’s been great to see some of the different artists who come in, and Orpha makes things I didn’t think were possible. AEP has helped us bond. We look forward to the meetings and seeing our friends. It’s enhanced our social life. To learn more about AEP, email To learn more about dementia and Alzheimer’s disease, visit or



More than five million Americans are living with Alzheimer’s disease.

130,000 Arizona has the fifth largest population of people with Alzheimer’s disease in the country, with more than 130,000 people in 2017.


The number one risk factor for developing dementia is age, and in Maricopa County, there are nearly 600,000 adults over the age of 65.

Facts courtesy of Banner Alzheimer’s Institute and Arizona Alzheimer’s Association.




In a single Museum season, there’s no shortage of events sure to captivate the imagination of the Phoenix community. From visually stunning exhibitions and elegant fundraisers, to innovative social happenings like First Fridays and Senior Prom, a visit to Phoenix Art Museum often holds the promise of becoming a part of something special, even spectacular. though sometimes less visible amidst the comings and goings of the exhibition season, the educator programs offered by the Museum provide experiences no less important to current and future Museum-goers. They are tailored to address the needs of Arizona teachers and students both at the Museum and throughout the community, and according to Michelle Sparks, the Museum’s school programs manager, they aim to provide art-based resources for educators of all disciplines.



“This is the perfect age to introduce [students] to the Museum, to feel comfortable here, and to learn to create. These kids have nothing to lose. They benefit so much from these programs because their minds are so open and free. We need the Museum because we can’t let these minds go to waste.” — Margaret Pappas, K-6 art teacher at Cactus Wren Elementary


16,750 Students and teachers who attended educational tours at the Museum

“Not only does art broaden students’ creativity and cultural awareness, but it can serve as a lens for cross-curricular learning,” Sparks said. “Through the different workshops and resources offered at the Museum, teachers learn to use art to illustrate mathematical properties, provide examples of scientific and technological processes, explore different places and cultures, and so much more.” Educator programs at the Museum include professional-development events for teachers. For example, the annual Educator Arts Day is a free, all-day conference that helps teachers of every discipline connect the arts to classroom curriculum and learn about communitywide resources. Another popular program is Arts Integration and Appetizers, a monthly professional-development series where educators enjoy hands-on learning in a casual atmosphere. The Museum also offers inventive art activities, which engage with objects on view in the galleries and utilize lowcost or free materials, a crucial benefit for teachers who struggle with limited budgets or those who contribute personal funds to purchase school supplies. Additionally, the Museum hosts thousands of school-aged children on field trips. Museum Docents lead tours designed to help teachers meet Arizona Curriculum Standards in


Number of teachers who attended one or more professional-development events at the Museum, representing 261 schools from 95 school districts

many content areas, exploring works of art through the lenses of history, science, the elements of art and principles of design, and more. For schools that qualify, the Museum offers reimbursement for transportation, free or reduced general admission, and access to special-engagement exhibitions. Docents also provide free classroom art talks in schools throughout the Phoenix metropolitan area, bringing an experience of Phoenix Art Museum to those students who may not be able to visit in person. For the Arizona teachers who utilize these resources, the Museum has become a source of respite, inspiration, and hope for their students’ futures. As teachers, administrators, and parents continue to navigate the challenges that face K-12 education in Arizona, the Museum will continue to provide an accessible space for all community members to connect, learn, and discover more about themselves and each other through art.

For more information about the Museum’s educator or Docent programs, visit phxart. org/education. Questions? Contact the education department at education@ or 602.257.4356. Educator events at Phoenix Art Museum are generously sponsored by William Randolph Hearst Foundation.

SAVE THE DATE: EDUCATOR ARTS DAY August 25 | 9 am – 5 pm

Visit the Museum to learn how to integrate the arts into classroom curriculum, and explore community-based resources for educators and students. Free for Arizona educators. RSVP required. Please see for details.



“What a wonderful way to support our community, our children, and (indirectly) our teachers, those selfless heroes who try to get us to a better future.” — Cathie Rubins

THANK YOU, FROM ALL OF US Supporting children, families, and teachers


ince 1959, Phoenix Art Museum has served as a brave space at the heart of our city, a center for connection, a safe place where all of our neighbors can gather, especially during challenging times. This April, as the #RedforEd movement brought the issue of educational funding to center stage, the teachers’ strike necessitated the closure of most Arizona schools. As we observed the challenges facing children, parents, and teachers, we, at the Museum, wanted to help in some way. We decided to open our doors free of charge on April 26 and 27 and May 1, for all kids younger than 18, with paywhat-you-can admission for adults. We didn’t quite know what to expect, but what we hoped was that parents in need of last-minute options for fun and meaningful activities would enjoy a visit to the Museum. What occurred was not only an amazing turnout of more than 1,500 parents and children, but an outpouring of support from our community. In addition to more than $3,500 in donations to the Museum, we received a number of notes and calls from community members, relieved parents, and those without kids in school who still wanted to express their thanks. We’ve shared a few of those messages here, along with our own expression of thanks—to you. You see, it is the on going generosity and support of our Museum Members and Circles of Support that allow us to continue to open doors to all families in our community. Each year, when you renew your membership, you make it possible for the Museum to do more for our shared community. We simply couldn’t do it without you.

“Thank you for supporting Arizona’s children, while understanding the challenges facing educators and our educational system as we endeavor to improve it for all involved.” — Bill Meek

“As a member of PAM, I was so moved by this outreach and generosity for our community. Your efforts encourage me to be a continuing member of your organization. Thank you for reaching out to help us all during challenging times, when we are reminded about our core values as a community: education, children, and the future. Thanks for your energy!” — Linda Jansen




LOCAL, NEW The 2017 Contemporary Forum award and grants recipients


hrough November 4, Phoenix Art Museum presents two exhibitions showcasing the 2017 Arlene and Morton Scult Artist Award and Contemporary Forum Artists’ Grants recipients.

Contemporary Forum, a support group of Phoenix Art Museum, offers two significant opportunities for artist recognition each year. The Arlene and Morton Scult Artist Award is presented to a mid-career Arizona artist whose work demonstrates a sustained degree of excellence and commitment to contemporary art. The award includes a $5,000 prize and a solo exhibition at the Museum the following year. The Artists’ Grants, on the other hand, are designed to encourage and assist emerging contemporary artists working in Arizona. The selection committee awards up to five grants of $2,000 each, and recipients are also showcased in an exhibition at the Museum the following year. Works by Matt Magee (b. 1961), the recipient of the 2017 Scult Award, are on view in his exhibition entitled •>][<‘.”-,}~{•*| Working in painting, drawing, sculpture, and assemblage, Magee is known for experimenting with abstract and conceptual art practices to reference contemporary scientific, ecological, and technological advancements. His exhibition at the Museum includes his most recent painting, Green Seven (2018), which is both enigmatic and rife with meaning. Like the title of the exhibition, the work is meant to be seen rather than read. Works by 2017 grants recipients Laura Spalding Best (b. 1980), Jenny Day (b. 1981), Casey Farina (b. 1977), and Christopher Jagmin (b. 1958) are on view in the Contemporary Forum Artists’ Grants Recipients exhibition. On May 23, the recipients of the 2018 Arlene and Morton Scult Artist Award and the 2018 Contemporary Forum Artists’ Grants were announced at the Contemporary Forum Awards presentation at Phoenix Art Museum, followed by an artist lecture with Matt Magee. The 2018 Scult Award recipient is Julio César Morales (b. 1966), and the 2018 artists’ grants recipients are Taylor James (b. 1979), Shanice Malakai Johnson (b. 1990), Elliott Jamal Robbins (b. 1988), and Papay Solomon (b. 1993). Works by the Arizona-based artists will be showcased in exhibitions at Phoenix Art Museum in 2019. For more information on Contemporary Forum’s artist-recognition opportunities, visit The Contemporary Forum Artists’ Grants Recipients and Arlene and Morton Scult Artist Award exhibitions are organized by Phoenix Art Museum and made possible through the generosity of Arlene and Morton Scult, the Nathan Cummings Foundation, and Contemporary Forum.

image credits: (top to bottom) Matt Magee, Star Map 1 and Star Map 2, 2018. Oil and graphite on panels. Courtesy of the artist; Casey Farina, Micrologies 1 and 2, 2018. Video sculpture. Courtesy of the artist; Christopher Jagmin, I Hate Everything, 2018. Micron pen and graphite on paper. Courtesy of the artist; Jenny Day, 7:15 es, 2018. Acrylic, spray paint, flashe, collage, pencil, paint pen, crayon and glitter on canvas. Courtesy of the artist; Laura Spalding Best, Tributary I (detail), 2018. Oil on found objects. Courtesy of the artist.




August 11 â&#x20AC;&#x201C; September 30 Kelly Ellman Fashion Design Gallery




For the first time ever at Phoenix Art Museum, guests will have the opportunity to experience photography and video in a whole new dimension. Opening on August 11, Moonage Virtual Reality will take viewers on a galactic journey through the fashion and culture of Pop Art and rock and roll, thanks to three virtual reality films by filmmaker Travis Hutchison.


ffering an out-of-this-world perspective, the suite of films in the cutting-edge exhibition celebrates the music, fashion, and style of three legendary figures who helped define the popular culture of the 1960s, ‘70s, and ‘80s: Andy Warhol (1928–1987), David Bowie (1947–2016), and Kenny Scharf (b. 1958). Guests will use a smartphone inserted into a virtual reality headset to explore the simulated environments of Moonage Virtual Reality simply by moving their heads. Virtual reality films are shot in 360-degree film to create environments through which viewers can move. Hutchison (b. 1968) said he was first drawn to this increasingly popular technology because of its dynamic, immersive properties. Using special computer programs, he layered photographs and videos in an infinite stereoscopic universe, crafting films that viewers will experience uniquely as they explore the exhibition’s three virtual environments. In Billy Name’s The Warhol Silver Factory (2017), guests find themselves in Andy Warhol’s studio, known as The Factory. Billy Name (1940–2016), an American photographer, filmmaker, and lighting

designer, was responsible for “silverizing” the Factory, and his visually stunning catalogue of Factory Fotos, featuring Warhol’s paintings, sculptures, and superstars, brings the glamour of the Warhol ‘60s to the Museum’s Ellman Gallery through stereoscopic virtual reality. Mick Rock’s Ziggy Stardust (2017), on the other hand, offers an immersive, dreamlike experience of David Bowie’s legendary 1972 tour, Ziggy Stardust and the Spiders from Mars. Hutchison created the film by using the iconic photographs and videos by Bowie’s legendary personal photographer Mick Rock (b. 1948). The images of Bowie’s outrageous stage performances, colorful makeup, and extraordinary costumes create the galactic, 360-degree, Ziggy Stardust kaleidoscope. The final film of the exhibition—Kenny Scharf’s Cosmic Cavern (2017)—engulfs viewers in the playful, Day-Glo, PopSurrealist installation of visual artist Kenny Scharf. Scharf created the very first version of the Cosmic Cavern Installation in 1981 in the closet of the small New York apartment he shared with artist Keith Haring (1958–1990). In the film on view at Phoenix Art Museum, Scharf’s cartoon imagery, graffiti tags, and futuristic galaxies come to

life under fluorescent black lights, for an ‘80s dance party, turned art installation, turned psychedelic virtual reality experience. Although each film in Moonage Virtual Reality offers a separate, but equally dazzling, experience, Hutchison said he made all three with a unifying idea in mind. “What each of these artists instilled in me is the idea of living your art,” he said. “They were innovative in everything they did, so when I thought about working in virtual reality, these were the worlds I wanted to explore in 360 degrees.” The original photographs and content on display in the exhibition’s films also share an important common theme—space. But what does Moonage Virtual Reality have to do with fashion? “The films in the exhibition really encapsulate the feel and energy of each art scene,” Hutchison said. “Each film is paired with fashion from the Museum’s collection. There is a jacket from Kansai Yamamoto, who made all of the costumes for Bowie’s Ziggy Stardust alien persona, as well as two dresses by Stephen Sprouse, who worked closely with both Andy Warhol and Kenny Scharf.” Reflecting on the exhibition, Hutchison said he hopes museum-goers and music and fashion fans alike find something in the work with which to resonate. But most of all, he wants all guests to realize the possibilities of virtual reality and what it means for the future of art. “I would like visitors to see virtual reality as an exciting new format for storytelling,” he said. “I hope the experience of 360-degree virtual installations will inspire them to see art beyond the white walls of a museum.”

Moonage Virtual Reality is organized by Phoenix Art Museum. It is made possible through the generosity of donors to the Museum’s annual fund. image credits: (left) Travis Hutchison, Mick Rock’s Ziggy Stardust, 2017. 360° stereoscopic mp4. Courtesy of the artist. (top right) Travis Hutchison, Billy Name’s The Warhol Silver Factory, 2017. 360° stereoscopic mp4. Courtesy of the artist. (above) Travis Hutchison, Kenny Scharf’s Cosmic Cavern, 2017. 360° stereoscopic mp4. Courtesy of the artist.







Robert Rauschenberg and Jasper Johns are considered giants of twentieth-century art. Known for their mixedmedia artworks combining non-traditional objects and materials with contemporary images, they have given the art world such iconic pieces as Bed (1955), Flag (1954–1955), Collection (1954/1955), and Target with Four Faces (1955), all of which have eclipsed their rich portfolios of prints—until now.


n view through November 11 at Phoenix Art Museum, Rauschenberg and Johns: The Blurring of Art and Life showcases nearly 20 works on paper, including lithographs, silkscreens, and collages, by the two neo-Dadaists. The exhibition, whose subtitle pays homage to a volume of essays on modernist art theory by artist Allan Kaprow (1927–2006), presents pieces from the 1960s through the 1980s, revealing the lesser-known side of the artists’ practices and examining how they influenced each other over the course of their relationship. “Although Johns is probably best known for his encaustic paintings of flags and targets and Rauschenberg for his Combines, which merged aspects of painting and sculpture, both artists produced rich print materials,” said Rachel Zebro, curatorial associate of modern and contemporary art. “The Museum’s collection has a particularly strong set of these works on paper, and we are excited to share this aspect of their careers with our community.” Rauschenberg and Johns met in 1953 in New York City. As the story goes, Rauschenberg (1925–2008) was the link between Johns (b. 1930) and renowned dealer and gallery owner Leo Castelli (1907–1999), who in 1958 would offer Johns his first solo show. It was then that Johns was discovered by Museum of Modern Art Director Alfred Barr, Jr. (1902–1981), who purchased three of Johns’ paintings for the museum’s collection. The two artists created alongside each other and collaborated for years, first as friends and then as romantic partners from 1954 to 1961. As a result, they inevitably grew to create art that bears obvious similarities. “Both of them juxtaposed images from popular culture and mass media to create new meanings often associated with ordinary, everyday objects, a practice that paved the way for Pop Art,” said Zebro. “Through their repetitive use of massproduced imagery and interrogation of the art object, they came to the conclusion that art and life are created by similar processes.” In the prints on display in Rauschenberg and Johns, images stack upon images to create visually complex compositions that

reveal something new every time they are viewed. But meaning in these works is fluid, if not wholly undefined. The two neo-Dadaists created art that openly rejected the abstract-expressionist idea of what art is, or should be. For abstract-expressionist artists­­­—think Jackson Pollock (1912–1956) and Mark Rothko (1903–1970)—the medium was the subject. They prioritized individual aesthetic to produce deeply personal pieces infused with heavy, hidden meaning, and as a result, they came to be known for and identified by their signature brushstrokes or preferred color palettes rather than the subjects they portrayed through their art.

And if the works in the exhibition seem destructive, it’s because they are. In Rauschenberg’s Poster for Dayton’s Gallery 12 (1970), for example, articles have been clipped from newspapers and collaged together to create new associations. By disassembling and reconfiguring a physical manifestation of “truth,” Rauschenberg forces the viewer to confront contemporary headlines and develop a social and political conscience to decode an alternative, and perhaps less certain, reality of his own creation. Johns similarly destroys in Flag, Committee Against the War in Vietnam (1969). True to his series of multicolored and mixed-media flags, Flag, Committee Against the War in Vietnam presents yet another altered image of the American flag, an enduring symbol of freedom, bravery, and patriotism. The viewer is left to contemplate the essence of this national emblem. If the flag is orange, black, and green rather than red, white, and blue, is it still American? And this line of questioning is exactly the point.

For Rauschenberg and Johns, however, subject matter foregrounded aesthetic. Although they often incorporated the rapid brushstrokes of abstract expressionism into their work, they largely eschewed the romantic, abstract-expressionist vision of art as well as the traditional aesthetic standard. Instead, they elevated everyday objects and iconic American imagery to suggest their artistic meaning, a clear nod to their predecessor Marcel Duchamp (1887–1968) and a reflection of Kaprow’s belief that the practice of art should, in some way, reflect the spectacle of modern-day life and comment on the process of living.

“Viewers will recognize many of the images and collage elements that Rauschenberg and Johns include in their work,” said Zebro. “But it’s about the associations and memories that these images trigger and the viewer’s personal interpretations—not the artists’ intent.”

In the exhibition at Phoenix Art Museum, the viewer can expect to see everything from a ruler to a broom to pictures of fans, wind turbines, and the American flag. But these recognizable images are placed within coded narratives often characterized by contradictions and mixed signals that leave their meaning unclear or, at the very least, open for interpretation.

Rauschenberg and Johns: The Blurring of Art and Life is organized by Phoenix Art Museum. It is made possible through the generosity of donors to the Museum’s annual fund.

So while Rauschenberg and Johns might have created the prints on view at Phoenix Art Museum, it’s up to the Museum’s guests to do the work. They must search for and find their own meanings, completing and re-completing the artworks with every visit.

image credits: (opposite page) Jasper Johns, Flag, Committee Against the

War in Vietnam, 1969. Lithograph: four aluminum plates on wove paper. Collection of Phoenix Art Museum, Gift of Mr. and Mrs. Alvin N. Haas. Art © Jasper Johns / Licensed by VAGA, New York, NY. (above) Robert Rauschenberg, Sack (Stoned Moon), 1969. Lithograph. Published by Gemini G.E.L., Los Angeles. Gift of Mr. & Mrs. Jack E. Brown. © Robert Rauschenberg Foundation.







In 1966, James Brown recorded a now-infamous blues anthem that declared this world to be a man’s world. While women, he sang, made life worth living, it was men who were responsible for the world’s greatest inventions, cornering the market on creativity. An exhibition at Phoenix Art Museum, however, proves that the godfather of soul was unequivocally wrong.


n view through August 12 in Steele Gallery, In the Company of Women: Women Artists from the Collection showcases more than 50 compelling works by more than 40 artists, encouraging guests to view the world through the eyes of women, while challenging them to see women not as muses but as makers, not just subjects but creators. In light of the growing awareness around the underrepresentation of women in the art world, the exhibition represents an important step toward increasing the visibility and representation of women artists. Today, works by women artists comprise only 3–5% of major collections in American and European museums, and the collection at Phoenix Art Museum is consistent with this trend. The Museum, however, continues to make strides to grow and diversify its collection and exhibitions, all in an effort to better reflect the community it serves. In the past decade, the Museum has acquired a number of works by women artists, including those by Erica Deeman (b. 1977), Marguerite Zorach (1887–1968), Louisa McElwain (1953–2013), Agnes Pelton continued on page 22 EXHIBITION


(1881–1961), Iris van Herpen (b. 1984), Rebecca Campbell (b. 1971), Yeohlee Teng (b. 1951), and Arizona-based artists Angela Ellsworth (b. 1964) and Annie Lopez (b. 1958). Additionally, the Museum’s 2017– 2018 exhibition year featured seven shows dedicated to the work of women artists, including Valeska Soares: Any Moment Now, Sheila Pepe: Hot Mess Formalism, Iris van Herpen: Transforming Fashion, and To Be Thirteen: Photographs and Videos by Betsy Schneider. Now, In the Company of Women brings women artists featured in the Museum’s collection to the forefront. “Exhibitions like In the Company of Women provide us with the opportunity to talk about reinforced assumptions that pervade everyday life,” said Rachel Zebro, the curator of the exhibition and the Museum’s curatorial associate of modern and contemporary art. “Women are often portrayed as objects of representation rather than active producers of art and history, and the work of women artists is often presented in opposition to the ideas of creativity and high culture. Art helps us to challenge these norms and expectations, and in using a series of familiar works from our own collection, we can share these ideas with our community in a tangible way.” In the Company of Women displays some of the community’s most beloved pieces alongside new acquisitions and neverbefore-seen works all drawn exclusively from the Museum’s collection, with the exception of a loan from Argentine-born and Arizona-based sculptor Geny Dignac (b. 1932). The exhibition showcases a diverse selection of artworks, including paintings, sculptures, video, and fashion, to offer varied perspectives of the world from the vantage point of women, each one telling a unique story. In pieces by Faith Ringgold (b. 1930) and Frida Kahlo (1907–1954), some of the most ignored and often dismissed realities of women take center stage. Ringgold’s The Bitter Nest, Part 1: Love in the School Yard (1988) combines traditional quilting with painting and fabric dyes to tell the story of a young woman’s encounter with an older man, as her schoolmates watch from afar. Ringgold’s quilts often explore the intersection of politics, race, sexism, and oppression, reflecting on how the complex— and sometimes problematic—relationships between men and women can impact individuals and communities. Frida Kahlo’s The Suicide of Dorothy Hale (1939), on the other hand, depicts the death of Dorothy Hale in a work commissioned by Clare Boothe Luce (1903–1987), one of Kahlo’s admirers and Hale’s personal friend who was a former U.S. Congresswoman,



ambassador, and playwright. Luce imagined that Kahlo would create a traditional recuerdo portrait as a tribute to Hale, but instead, the artist painted the scene of Hale’s death in graphic detail. The resulting work is far from a romanticized, beatific portrait of a woman painted in remembrance; instead, it is a brutal, uncompromising confrontation of the severe psychological agony and physical torment of its subject. Other artworks featured in the exhibition rely on the quotidian and transform objects of domesticity into art. In Rebecca Campbell’s Do You Really Want to Hurt Me (2009), Windex© glass cleaner gives color to transparent, hand-blown, glass sculptures, leaving viewers to contemplate an otherworldly scene of brilliant birds perched atop branches of an avocado tree covered in hand-sewn black velvet. In Annie Lopez’s Naturalized Citizens (2013), immigration documents, printed onto commercial tamale paper, form a fullskirted, cyan dress. The piece references the artist’s family members and their naturalization process, intermingling personal narrative and nostalgia and reflecting on societal concerns of the Latina/o community.

And no exhibition of women artists would be complete without mention of the female form. Since the beginning of human evolution, women have been portrayed in art, from the earliest prehistoric etchings of women as life givers, to the Renaissance works of Botticelli and beyond. In the Company of Women, however, offers alternative views of women by women. Modern fashion designers such as Vivienne Tam (b. 1957) and Miuccia Prada (b. 1949) explore the female form through contemporary couture fashion, whereas Joan Brown (1938–1990) references the still-life tradition of Giorgio Morandi in her Girl with Green Negligee (1972). Rendering her subject in simplistic, sallow curves, Brown creates a contemplative scene of a woman in repose, reducing the subject’s face to a simple line. At every turn, In the Company of Women promises a unique interpretation of the world created by a woman. And although the artworks on display do not represent a single experience or artistic vision, when viewed all together they prompt guests to contemplate the journeys of these women artists in a world, and an industry, historically dominated by men.

WHY DOES DIVERSITY IN ART AND ART COLLECTIONS MATTER? “[H]ow history is written, both in and out of art institutions, is how you shape the world.” – Judy Chicago, in 2017, in an interview with Huffington Post The Museum will continue to showcase works by women artists in an effort to provide a more comprehensive art history of the Southwest region and the world. Narnia (2017), a painting by New York-based artist Shara Hughes (b. 1981), was recently acquired with funds provided by the Dawn and David Lenhardt Emerging Artist Acquisition Fund. The painting, featuring fantastical, geographic rock formations that resonate with the local landscape, will be on view starting September 8 in the newly named Dawn and David Lenhardt Gallery as part of Present Tense: Selections from the Lenhardt Collection. Additionally, the Museum will premiere in 2019 the exhibition Agnes Pelton: Desert Transcendentalist. Organized by Gilbert Vicario, the Museum’s Selig Family Chief Curator, the exhibition will be the first survey of the relatively unknown American painter in more than 21 years, shedding light on Pelton’s artistic contribution to American Modernism. In the Company of Women: Women Artists from the Collection is organized by Phoenix Art Museum. It is made possible through the generosity of donors to the Museum’s annual fund. image credits: (page 18-19) Rebecca Campbell, Do You Really Want to Hurt Me? (¿Realmente quieres lastimarme?), 2009. Avocado tree reinforced with steel and fiberglass, covered in handsewn velvet, hand-blown glass birds on brass feet filled with Windex; steel filled with Solar Salt harvested from the Great Salt Lake. Gift of Rebecca Campbell and L.A. Louver, Venice, California. (page 19, top to bottom) Erica Deeman, Untitled 18, 2013. Digital chromogenic print. Purchased with funds provided by Contemporary Forum; Erica Deeman,Untitled 10, 2013. Digital chromogenic print. Purchased with funds provided by Contemporary Forum; Erica Deeman, Untitled 16, 2013. Digital chromogenic print. Purchased with funds provided by Contemporary Forum. (page 20-21) Faith Ringgold, The Bitter Nest, Part 1: Love in the School Yard, 1988. Acrylic on canvas and fabric. Museum purchase with funds provided by Contemporary Forum, Stanley and Mikki Weithorn, Consortium of Black Organizations and Others for the Arts; Gift of Dr. and Mrs. Lorenz Anderman, Mr. and Mrs. David K. Anderson, Mr. and Mrs. Roy Neuberger by exchange; Rebecca Campbell, Jack and Diane, 2004. Oil on canvas. Gift of Vicki and Kent Logan; Florine Stettheimer, Easter Picture, c. 1915-1917. Oil on canvas. Gift of the Estate of Ettie Stettheimer; Liliana Porter, Red with Mirror, 2000. Cibachrome. Gift of anonymous donors in honor of Dr. Beverly Adams.

“At its best, what art does is, it points to who we as human beings and what we as human beings value.” – Kehinde Wiley, in 2016, in an interview with Public Radio International

“Museum institutions have the power to influence people’s ideas because they qualify what matters in the eyes of the world.” – Amy Sherald, in 2017, in an interview with Gallery Gurls

“Unless [museums] show art as diverse as the cultures they claim to represent, they’re not showing the history of art, they’re just preserving the history of wealth and power.” – The Guerilla Girls, from their 2017 exhibition Is it even worse in Europe?




October 6 â&#x20AC;&#x201C; January 27, 2019 Steele Gallery

Explore the murals, sculptures, and extraordinary artifacts of Teotihuacan




create pin-drop map of teo location on north american continent MEXICO or pyramid detail shot? TEOTIHUACAN MEXICO CITY

The ancient city of Teotihuacan is one of the worldâ&#x20AC;&#x2122;s greatest mysteries. Located approximately 30 miles outside of modern-day Mexico City, the metropolis, whose original name remains unknown, was founded in the first century CE near a set of natural springs in the Valley of Mexico. At its height in the fourth century CE, it covered nearly eight square miles and featured enormous pyramids, long avenues, and residential compounds that housed a multiethnic population of at least 100,000. But who built the regionâ&#x20AC;&#x2122;s first and most influential city, how did they rule the massive civilization, and what caused it all to crumble?

continued on page 26 EXHIBITION



ecades of painstaking archaeological analysis have uncovered an ancient site defined by rigorous urban planning and designed with cosmic intention. The great city, filled with symbols of sacred and political power, thrived until the sixth century CE, when its center was burned and many objects were smashed and scattered across patios and temples, for reasons still unknown. Despite its collapse, the monumental metropolis has never ceased to fascinate, its allure persisting through the centuries. The Aztecs of the fourteenth century CE knew the city as ruins; they named it Teotihuacan, “the place where the gods were created,” and claimed it as the site of their creation myths. Today, Teotihuacan is the most-visited archaeological site in Mexico, a UNESCO World Heritage Site, and one of the most important archaeological sites in the world. Because the city’s original inhabitants left behind no written record of historical events— at least none that can be truly read yet—some of the mysteries of Teotihuacan may never be solved. But thanks to recent excavations, we know more about the ancient city than ever before. For example, scholars now know that the central role of art in Teotihuacan society set the city apart from other ancient Mesoamerican civilizations. Rather than focusing on the identities of individual rulers and their exploits, Teotihuacan’s murals, ritual offerings, and pyramids themselves reflected a more communal identity, projected onto the city’s diverse population. Starting October 6, the Phoenix community has the once-in-a-lifetime opportunity to experience these defining artworks and objects of the largest civilization of the PreColumbian Americas. Teotihuacan: City of Water, City of Fire at Phoenix Art Museum showcases nearly 200 artworks and artifacts from both recent and previous excavations of the site. These extraordinary objects, many on view in Arizona for the first time, present the most comprehensive view into the art, everyday life, and religion of Teotihuacan to date, and prove that the ancient city was far more contemporary in design than previously thought. We sat down with Matthew H. Robb, PhD, the curator of Teotihuacan: City of Water, City of Fire and the chief curator at the Fowler Museum at the University of California, Los Angeles, to learn more about the historic exhibition and what Museum guests can expect to discover as they examine the art of Teotihuacan.



PUBLIC ART ART, DESIGN, AND IDENTITY IN TEOTIHUACAN Phoenix Art Museum: Why is this exhibition in an art museum and not a natural history museum? Matthew H. Robb: Teotihuacan reminds us of the great impact that art and design have on culture in general. In Teotihuacan, art was a form of ideology, used to perpetuate religious beliefs and reinforce social practices. The artistic themes of water and fire, for example, speak to the Teotihuacan belief that natural resources represented both the civilization’s power and its biggest threat. In the United States, objects from places like Teotihuacan are often shown in both art museums and anthropology museums, and that reflects how we need and want to understand them from multiple perspectives. One thing that’s exciting about this exhibition is that it will guide people to understand these objects in multiple ways. They’re not just artifacts—they’re part of an artistic system that was interested in conveying a specific message. Through both art and archaeology, this exhibition attempts to show what life was like in Teotihuacan. PhxArt: What types of art have you found in Teotihuacan that convey these messages? MHR: A great example is the murals. Many of them depict religious rituals through images, communicating the dominant culture and identity to the general population. Think of the oral traditions we still have today: If your grandfather tells you a story, it lives with you. Even if you never have the same experience, the story carries through your everyday life and permeates your reality. The murals provided something similar to Teotihuacan residents. Even though many of them might not have ever seen these rituals taking place, or ever seen canines attacking a deer, the images and ideas became a part of their identities. The murals also give a sense of what the urban environment was like: people are walking, carrying corn, talking, or scattering objects. This means artists were also looking at city life and thinking about what it means to be a part of a city. continued on page 28




BIG CITY, BIG DREAMS URBAN LIFE IN TEOTIHUACAN PhxArt: What can Museum guests expect to discover about cosmopolitan life in the ancient city? MHR: If there’s one thing that people should walk away with, it’s to understand that Teotihuacan was a city like Phoenix, Los Angeles, Beijing, or Rome. It’s right up there with other ancient cities around the world.

“At Teotihuacan, you’d be at the center of the world, in the place with the biggest pyramids. People like living in New York and Paris for the same reason. There is a cultural identity that comes along with it.”

Throughout human history, people have made cities, and people have also tried to understand cities and what drives people to build them. Cities, like agriculture or pottery-making, are an almost universal human phenomenon. Why do people actively choose to move to a place where there are lots of other people—in many cases people who don’t speak the same language as them, or eat the same things that they do, and so forth? What makes that attractive? This exhibition deals with that idea of a planned place and the components of its everyday life—the components that may have drawn people from all over Mesoamerica to live in this city. One offering in the show is particularly moving. It includes a number of female and infant figurines in scenes of child-rearing. On a certain level, it shouldn’t be surprising. But when you see these figurines that depict an adult holding a baby, or an infant sucking its thumb, you feel an instant, extraordinary connection to these ancient objects and the people who made them. PhxArt: Are there any lessons that we can learn from Teotihuacan and apply to the present day? MHR: One of the most important themes of Teotihuacan is that of migration and multiethnic populations. It’s really important to think about the challenges of migration and people coming from different parts of the world. How do you get everybody on the same page? In Teotihuacan, they had this challenge, and in some respects, it was an opportunity. Nobody had ever done anything like this in Mesoamerica before. We know from skeletal remains that some residents, for example, grew up in Oaxaca but moved to Teotihuacan and maintained their Oaxacan culture. In some ways, Teotihuacan was very encouraging and allowed people to have their own traditions. But they also created this very dominant identity in which everyone (or nearly everyone) participates. It’s a challenging dynamic that probably didn’t remain the same over time. This also helps us think about a question we still ask today: Why do people want to come to a city? The motives that led people to Teotihuacan were the same ones that drive people to move across the landscape today, including economic opportunity, reuniting with family, and better housing conditions. At Teotihuacan, you’d be at the center of the world, in the place with the biggest pyramids. People like living in New York and Paris for the same reason. There is a cultural identity that comes along with being in a place with that kind of vibrancy and energy.




Teotihuacan: City of Water, City of Fire is organized by the Fine Arts Museums of San Francisco and the Los Angeles County Museum of Art, in collaboration with the Secretaría de Cultura through the Instituto Nacional de Antropología e Historia de México. This exhibition has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities. The Phoenix premiere of Teotihuacan: City of Water, City of Fire is made possible through the generosity of The Diane & Bruce Halle Foundation, supported by BlueCross BlueShield of Arizona and JP Morgan Chase & Co., with additional support from The Selz Foundation, Inc., and SRP and Jane and Mal Jozoff.

PhxArt: What are the challenges and opportunities that come with multinational projects like this one, where you have archaeologists and researchers from all over the world working at the same site? MHR: Collaboration is what makes exhibitions like City of Water, City of Fire possible. They are a manifestation of smaller, personal relationships between international institutions and researchers. When displaying archaeological artifacts in the United States, one key thing is the need for real transparency about the nature of the collections that institutions care for. There are objects that belong to U.S. museums that were looted from their countries of origin, and we need to be honest about that and understand the consequences from an ethical and moral perspective. Maintaining relationships with our international institutional peers means that everyone needs to know. It’s a conversation we have on a pretty regular basis. These discussions can often be complicated to navigate. In some cases, the appropriate thing may be to return an object, and in some cases, it may not. Wherever the objects are, they need to be taken care of. If they’re not incredibly unique objects, you can make the case that those objects are ambassadors for their cultures and can help lead to greater understanding of the past. In other cases, we may find out definitive information that links the provenance of an object to a pernicious episode of looting, and those outcomes can be very different. That’s what happened with some of the murals in the exhibition. The Fine Arts Museums of San Francisco worked closely with the Instituto Nacional de Antropología e Historia in Mexico in the 1980s to return many mural fragments to Mexico, and that collaboration helped establish the relationship that made this exhibition possible. PhxArt: What is the significance of this exhibition coming to Phoenix? MHR: I think it’s a really great opportunity. Visitors, especially those who live in present-day Arizona, probably know that there is a strong tradition of city-making and monumentality in the ancient American Southwest, but they should also know that tradition can be seen across the Western hemisphere—in the Midwestern United States, across Mexico, in the Maya region, and in South America. It’s a tradition that lasted for thousands of years. It’s also an act of making sure people with Mexican ancestry are represented in museums; and for people who aren’t of Mexican descent, it’s a way to get a little sense of what someone else’s ancestry looks like. Imagery from ancient Mexican civilizations have really influenced modern and contemporary Chicano and Chicana artists. Tere Romo, a colleague who specializes in Chicana/o art, once told me that Teotihuacan murals came from the city’s hierarchy—from the top down—and Chicana/o murals typically come from the bottom up. Both, however, represent a community’s desire to portray a certain identity through art. Teotihuacan: City of Water, City of Fire is the first major U.S. exhibition on Teotihuacan in more than 20 years. Its final stop at Phoenix Art Museum is the last time these extraordinary, world-heritage objects will be on view in the United States before returning to Mexico.

TAKE HOME THE WONDERS OF TEOTIHUACAN EXHIBITION CATALOGUE $67.50 (member) | $75.00 (non-member) This illustrated catalogue examines major objects from Mexico City’s Museo Nacional de Antropología, objects from the museums and storage facilities of the Zona de Monumentos Arqueológicos de Teotihuacan, and selected works from U.S. and European collections. Published in association with the Fine Arts Museums of San Francisco. 444 pages.


Be the first to explore Teotihuacan: City of Water, City of Fire. This event is an exclusive benefit for Circles of Support members. For more information on Circles of Support, the premier philanthropic group of Phoenix Art Museum, visit or call 602.257.2115.


October 6 | 10 am – noon Enjoy morning refreshments and exclusive, Members-only access to Teotihuacan: City of Water, City of Fire. For more information on Membership at Phoenix Art Museum, visit or call 602.257.2124.

image credits: (page 24) Mexico, Anahuac, Teotihuacan. Smaller pyramids in the foreground of Sun Pyramid. (Photo by: Eye Ubiquitous/UIG via Getty Images). (page 25) Eccentric, 200–250. Obsidian. Zona de Monumentos Arqueológicos de Teotihuacán / INAH [Acervo], 10-615741. Photograph by Jorge Pérez de Lara Elías, © INAH. (page 26, top to bottom) Circular relief, 300–450. Stone. Museo Nacional de Antropología / INAH, 10-81807. Archivo Digital de lasColecciones del Museo Nacional deAntropología / INAH-CANON; Storm God ‘Almena,’ 400–500. Ceramic. Zona de Monumentos Arqueológicos de Teotihuacán / INAH [Museo de la Cultura Teotihuacana]. Image courtesy of the Fine Arts Museums of San Francisco. (page 27, top to bottom)Vessel with Procession of Figures and Animals, 550–650. Las Colinas, Calpulalppan, Tlaxcala. Ceramic. Museo Nacional de Antropología / INAH. Image courtesy of the Fine Arts Museums of San Francisco; Storm God Vessel, 150–250. Ceramic. Zona de Monumentos Arqueológicos de Teotihuacán / INAH [Proyecto Tlalocan] Image courtesy of the Fine Arts Museums of San Francisco. View of the Sun Pyramid looking east, At 63 meters tall, the Sun Pyramid was one of the largest and tallest structures in the Western Hemisphere until the development of the skyscraper in the nineteenth century. Photograph by Jorge Pérez de Lara Elías, © INAH. (page 28, top to bottom) Mexico, Anahuac, Teotihuacan, Moon Pyramid. (Photo by: Eye Ubiquitous/ UIG via Getty Images). above: Standing figure, 200–250. Greenstone. Zona de Monumentos Arqueológicos de Teotihuacán / INAH [Proyecto Tlalocan]. Photograph by Jorge Pérez de Lara Elías, © INAH.



PRESENT TENSE: SELECTIONS FROM THE LENHARDT COLLECTION September 8 – December 16 Dawn and David Lenhardt Gallery

HERE AND NOW From September 8 through December 16, 2018, the Phoenix community has the chance to experience artworks by various masters of modern and contemporary art.


urated by Gilbert Vicario, the Selig Chief Family Curator, Present Tense: Selections from the Lenhardt Collection showcases works from Pop-Art legends Andy Warhol and Roy Lichtenstein alongside those by living contemporary artists, such as Damien Hirst, Jim Hodges, and Louise Lawler. The exhibition, on view in the newly named Dawn and David Lenhardt Gallery, features pieces drawn from the Lenhardt Collection and examines the impulses and inspirations around collecting contemporary art for a domestic setting. It also represents a key element of the Dawn and David Lenhardt Contemporary Art Initiative.



“We are proud to provide our community with access to the world-class modern and contemporary artworks featured in Present Tense,” Vicario said. “This exhibition mirrors those on view in major global art capitals, linking us to those conversations and helping to establish the Museum as a top contemporary-art destination in the United States and the world.” Established in 2017 through the generosity of the Lenhardt family, the Dawn and David Lenhardt Contemporary Art Initiative enables the Museum to strengthen its focus on contemporary art collecting, education, and exhibition through multiple programs, including the annual Lenhardt Lecture, the Lenhardt Emerging Artist Acquisition Fund, and a named gallery space, featuring a rotating series of loans from the Lenhardt family’s private collection. “Dawn and I are excited to share art from our personal collection with Phoenix Art Museum and our community through Present Tense,” said David Lenhardt, who served as CEO of PetSmart until 2015 and is a member of the Museum’s Board of Trustees. “This

exhibition plays a vital role in raising the Museum’s profile as an internationally recognized museum.” Featuring various hard-hitting examples of contemporary art from the Lenhardt Collection, Present Tense places recent acquisitions by the Lenhardts in conversation with works by modernart icons. Ten Campbell Soup prints by Andy Warhol (1928–1987) and a late-career painting by Roy Lichtenstein (1923–1997), all acquired by the Lenhardts early in their collecting career, are displayed alongside a range of artworks by various living contemporary artists, including Jim Hodges (b. 1957), Ugo Rondinone (b. 1964), Damien Hirst (b. 1965), Rashid Johnson (b. 1977), and Louise Lawler (b. 1947), to name a few. Also included in Present Tense is a recent Museum acquisition, Narnia (2017) by Shara Hughes (b. 1981). A standout in the 2017 Whitney Biennial, Hughes creates fantastical landscapes that reference multiple art movements, including Symbolism, Fauvism, and Surrealism, from a contemporary perspective. “Her painting style draws on the work of artists such as Henri Matisse, David Hockney, Marguerite Zorach, and even Agnes Pelton,” Vicario said. “Her rich compositions toggle between material and surface, transparency and depth, and abstraction and representation in quickly rendered canvases.” Hughes will visit the Museum on October 24 as the inaugural speaker for the Museum’s Emerging Artist Lecture Series presented by the Dawn and David Lenhardt Contemporary Art Initiative. The Museum will host Hughes in conjunction with the official dedication of the Dawn and David Lenhardt Gallery and the exhibition celebration for Present Tense. Hughes’ Narnia is the first artwork purchased using funds provided by the Lenhardt Emerging Artist Acquisition Fund, which helps the Museum collect works by next-generation contemporary artists. Vicario said he selected the painting for acquisition in part because of its geographic rock formations that resonate with the local landscape. Although Present Tense offers Museum guests the unique opportunity to experience works by some of the world’s leading contemporary artists, including emerging artists like Hughes, Vicario said the exhibition also serves a larger purpose—to remind viewers of the power of individuals to effect change through their generosity and commitment to community. “Contemporary art collectors like the Lenhardts represent individuals who are interested in shaping the world in which we live,” Vicario said. “Through their work with Phoenix Art Museum, they are investing in the future of our city and giving everyone in our community the opportunity to engage with contemporary art. This civic-minded thinking benefits our local culture while enhancing our collective visual literacy.” Present Tense: Selections from the Lenhardt Collection is organized by Phoenix Art Museum. This exhibition is made possible through the generosity of the Dawn and David Lenhardt Contemporary Art Initiative. image credit: Roy Lichtenstein, Brush Stroke with Still Life VII, 1996. Oil and



ocal art collectors Dawn and David Lenhardt have helped raise the bar for modern and contemporary art at Phoenix Art Museum. Through the Dawn and David Lenhardt Contemporary Art Initiative, they brought prominent artist Jim Hodges to the Museum in April as the inaugural speaker for the Lenhardt Lecture, and now, they are sharing some of their most beloved acquisitions with the community through Present Tense: Selections from the Lenhardt Collection. We sat down with David Lenhardt, a member of the Museum’s Board of Trustees, to learn more about the couple’s approach to collecting art. When did you and Dawn begin collecting art, and what was the first piece you purchased? We began collecting in 2003, two years before we got married. The first piece we acquired was Andy Mouse (1986), a print by Keith Haring (1958–1990). It’s a very colorful and iconic Haring print that pays homage to the artist’s two mentors, Andy Warhol and Mickey Mouse. As it turns out, it’s been exhibited at the Museum before, as part of the 1991 exhibition Keith Haring, Andy Warhol, and Walt Disney. From where do you collect, and what do you look for in a work of art? Early on, we acquired pieces mostly from auction houses, but now, we enjoy visiting art galleries, predominantly in New York and on the West Coast. When we’re thinking about an artwork to acquire, the first rule is that we both need to like the art. Aside from that, we look for pieces with layers of meaning. Louise Lawler’s Anonymous (1991), for example, is a beautiful image, but it really examines how the meaning of an artwork changes when it interacts with different environments. How have you evolved as art collectors? Over the years, we’ve shifted to collecting artwork by living artists. It’s been fun because we get to meet the artists, develop a connection with them, and learn more about their work and their processes. What advice do you have for burgeoning art collectors? First of all, collect art that resonates with you. You need to enjoy the art you’re collecting. Second, learn and research. Go to museums, local art fairs, and galleries in Phoenix. When you travel, visit galleries. Develop your own interests and themes for your art, and get involved with art in any way you can. At the end of the day, collecting art is an educational process, and the art will reward you the more you learn about it.


Phoenix Art Museum will welcome Shara Hughes as the inaugural speaker of the Emerging Artist Lecture Series presented by the Dawn and David Lenhardt Contemporary Art Initiative. Her work is in the permanent collections of The Dallas Museum of Art (Dallas, Texas), The Metropolitan Museum of Art (New York, N.Y.), and The Smithsonian American Art Museum (Washington, DC), among others. Tickets available soon at

Magna on canvas. Lenhardt Collection. © Estate of Roy Lichtenstein.



“When all efforts to restore peace prove useless and no words avail, lawful is the flash of steel. It is right to draw the sword.” — Guru Gobind Singh (1675–1708)


n Sikhism, a justifiable war must be fought even if it cannot be won. But when is war justified, and how does military action relate to Sikh doctrine?

Two exhibitions at Phoenix Art Museum, on view through December 2, explore these very questions as they illuminate the relationship between the Sikh faith and militarism. Saintly Soldiers of the Sikh Faith offers a history on the concept of religious warfare in Sikhism, whereas Warriors of World War I: Sikh Art and Heritage depicts the crucial role of Sikh soldiers in the First World War. According to Janet Baker, PhD, curator of Asian art, the two Sikhfocused exhibitions complement and build on each other. “Saintly Soldiers gives [the viewer] a broader historical perspective over three centuries, and Warriors of World War I focuses on a specific period of time over just a few years,” she explained. Saintly Soldiers traces the evolution of religious warfare in Sikhism in response to oppression and attacks on the Sikh faith, from the time of the sixth guru, Guru Hargobind, through the teachings of the tenth guru, Guru Gobind Singh, who taught that although military action is the last resort, it should not be avoided if it is necessary.


HISTORY Exploring Sikh art, war, and faith WARRIORS OF WORLD WAR I: SIKH ART AND HERITAGE SAINTLY SOLDIERS OF THE SIKH FAITH Through December 2 The Kaur and Singh Sikh Art Gallery

image credits: (above) Unknown, War Banner Indian, undated. Silk and pigments. The Khanuja Family. (right) Unknown, Sikh Soldiers in India (detail), 1860s. Albumen print. The Khanuja Family.



The exhibition features weaponry, images, and other articles of Sikh history that demonstrate the balance between the martial and spiritual endeavors of Sikh leaders and communities in times of peace and battle. Included in the exhibition are two contemporary paintings by Jarnail Singh (b. 1956) depicting Sikh women on the battlefield in historic episodes, as well as a rare and unusual Sikh war banner. One of less than 10 known to still exist in the world, the silk banner was used by various military units of the Sikh Empire during the nineteenth century. The front depicts a field of painted flowers and a radiating sun, symbolizing the victory of the forces of light over darkness. In contrast to Saintly Soliders, Warriors of World War I hones in on a specific moment in Sikh military history, providing a unique perspective on the world’s first global conflict. The exhibition’s second rotation, which has been on view since April 14, features new collections of photographs and prints that allow visitors to dive deeper as they continue to explore the crucial role of Sikh soldiers in the First World War. The exhibition’s first iteration, presenting photographs, drawings, and relics of war, was on view from November 18, 2017 through April 1, 2018.

LET’S TALK ART COLLECTING with Dr. Parvinder Khanuja

Baker described Warriors of World War I as a subtle show, with works in black and white that depict a gruesome moment in history and the significant presence of Sikh soldiers in the British Indian Army. She said one new photograph in particular will resonate with visitors because of its connection to the local community. “There is a photograph of the greatgrandfather of someone who lives right here in Phoenix,” Baker explained. “It is the original photograph in the original frame, dating from 100 years ago.” The man depicted in the image is Jug Singh Gill, the great-grandfather of Dr. Jugroop Singh, a Phoenix resident. At the time of his death, Gill was Naib Subedar, or junior commissioned officer, the third highest rank possible in the British Indian Army. He was killed in action during World War I, possibly at Basra. The year of his death is unknown. “This is characteristic of World War I,” Baker said. “Who died when and where? There are few records.” The family heirloom joins other prints and photographs, including an image of the India Gate War Memorial, to help visitors learn more about the vital role of Sikh soldiers in World War I.

Dr. Parvinder Khanuja has been collecting art for nearly a decade. A Valley oncologist and a member of the Board of Trustees of Phoenix Art Museum, he has made it his mission to educate the community about Sikhism, the world’s fifth largest religion, through art. In 2017, he and his wife, Parveen, made a generous donation to the Museum for a named gallery space that now exclusively displays Sikh art, including pieces from their personal collection. We sat down with Khanuja to discuss his approach to art collecting. When did you begin collecting art, and why? I started to collect about 10 years ago. I’ve always been interested in Sikh history, and art and history are intertwined. So I’m especially interested in art from a historical perspective. Plus in my opinion, I think art is good for the soul and makes you a better, more cultured person. What was the first piece you purchased? Ten years ago, I came across some Sikh coins, and I was overwhelmed with them. To me, they were so powerful; they represented Sikh history, part of a Sikh nation, and sovereignty. I believe most people

Although Sikhs made up only 1% of India’s population in the early twentieth century, when the country was still under British colonial rule, they accounted for more than 20% of the British Indian Army that fought in Egypt, Palestine, Mesopotamia, Turkey, France, Germany, Belgium, and Britain. “They were fighting for an empire in which they had very little power or importance,” Baker said. “But this idea of a practical need to defend their faith and protect their rights to freedom of speech and religion established a prerogative for fighting the war as part of religious belief.” Both Saintly Soldiers and Warriors of World War I continue the Museum’s effort to present artwork and objects that explore themes of Sikh history and culture. “Exhibitions like these help the Museum introduce a little-known and littleunderstood faith to mainstream American audiences, but they also create an honored place for people of the Sikh faith to come and appreciate Sikh art,” Baker said. “We want everyone to understand that we value their cultural contributions.” Warriors of World War I: Sikh Art and Heritage and Saintly Soldiers of the Sikh Faith are organized by Phoenix Art Museum. They are made possible through the generosity of the Sikh Heritage Fund.

today have never heard of Sikh coins, and most Sikhs themselves have probably never seen Sikh coins. What do you look for in a piece of art, and from whom do you collect? I look for something that is unique or something I don’t have. Primarily, I collect from Sotheby’s, Bonhams, Christie’s, and Mullock’s in England. I also call on a small network of collectors and sellers in the United States, England, and India, with whom I’ve developed associations over the years. How have you evolved as an art collector? Over the last few years, I’ve started to collect works by three contemporary Sikh artists. They each have a unique style, and they’ve all had works exhibited in international galleries and museums. What advice do you have for burgeoning collectors? I’d tell them to follow their passion. Collect art if you like something—don’t just do it as an investment. I’d also say that it’s important to develop a network of people with similar goals. That way, you can continue to learn from each other.




raditionally, Japanese ceramics emphasize the beauty of nature. Their forms are often unadorned to highlight each vessel’s imperfections, simple elegance, and quiet balance, with the clay, artist, and firing process all influencing the ceramic’s aesthetic simultaneously. Today, ceramic artists in Japan maintain many of these elements while incorporating modern innovations. After World War II, Japanese ceramics underwent a major shift, opening the door for artists to experiment and create vessels that were more sculptural, creative, and avant-garde. Technological improvements to glazes, kilns, and clay refinement have also heavily impacted this fresh new interpretation of traditional aesthetics. Modern Simplicity: Selected Gifts from Elaine and Sidney Cohen, on view at Phoenix Art Museum through December 2, showcases a variety of vases, vessels, boxes, and unexpected objects that highlight the many techniques implemented by modern Japanese ceramic artists. Some pieces are glazed and express experimental, organic forms, such as Haku-yu kurinuki vase (after 1988) by Masanao Kaneta (b. 1953). A translucent sheen accentuates the unexpected angles and marks of the highly sculptural vase, with only a small portion of bare clay peeking out from the bottom. By contrast, Fresh water jar by Kiyomizu Rokubei (b. 1954) has no glaze. Its refined surface presents the clay’s natural, ruddy hue, and its cylindrical form is much more controlled, although the dome-shaped lid bears a spontaneous trace of the artist’s thumb. Among the more unconventional pieces on view is Toubako, or ceramic box, by Yoshitaka Hasu (b. 1949). A former architect, Hasu works like a sculptor. Employing a technique called kurinuki, he carves out exterior forms and scoops out the interior of solid chunks of clay with knives and wires, paring away the unnecessary to reveal powerful, dynamic, and distinctive lines for which he is best known. Perhaps the most unusual objects in the exhibition, Aurora #10 and Ceramic Form #1 by Yukiya Izumita (b. 1966) are based on paper. The artist’s process involves expressing his concepts in paper, much like origami, before creating them in clay. “Paper gives me infinite shapes, and clay shows me an abundance of forms,” said Izumita. Due to the delicate nature of his work, his pieces have a success rate of only 20% in firing; the ones that survive the process become precious objects. What unifies this diverse set of ceramics is the artists’ shared passion for the material. These contemporary vessels all bear minimal decoration, present visible marks from the firing process, and take their inspiration from the nature of clay. This reverence for the process and appreciation of tradition is what has allowed this modern simplicity to develop, hearkening back to thousands of years of elegant tradition. Modern Simplicity: Selected Gifts from Elaine and Sidney Cohen is organized by Phoenix Art Museum. It is made possible through the generosity of Elaine and Sidney Cohen and donors to the Museum’s annual fund.




Through December 2 Art of Asia galleries

LET’S TALK ART COLLECTING with Elaine and Sidney Cohen As Members of Phoenix Art Museum for 40 years, Elaine and Sidney Cohen have contributed to the Museum’s mission and collection in more ways than one. Elaine began volunteering with the Museum in 1980 and is now a Docent. Both she and Sidney joined Contemporary Forum, a Museum support group, in 1985, with Elaine serving as the group’s president from 2001–2003. Now, they are Circles members, providing vital support for the Museum’s exhibitions and education programs. Art collectors for more than 30 years, the Cohens recently donated a stunning collection of modern Japanese ceramics to the Museum. We sat down with them to discuss their love of Japanese ceramics and the motivation behind their generous gift. What inspired you to make this donation of artwork to Phoenix Art Museum? We made our first donation of two ceramic pieces [by renowned ceramic artist Betty Woodman] in 2009 for the Museum’s 50th anniversary. Since then, we have continued to gift our art to various museums. We knew that there was a void in contemporary Japanese ceramics in the Museum’s collection.

What inspired you to begin collecting Japanese ceramics? We lived in a Taliesin-designed home with all the influences of Frank Lloyd Wright, who loved, admired, and collected Japanese prints and ceramics. When we began to visit galleries with Japanese ceramic works, we were smitten. What we like most about these works is their simplicity; there is not one extra gesture or decoration. The hand of the artist is very much evident in these pieces, as a full expression of the artist’s commitment to her/his work. We particularly like wood-fired work because of the additional element of the firing effects. The artist builds the kiln, fires the work, and is often surprised at the final result of color or ash on the completed object. It’s a combination of the artist’s control and the artist being controlled by the elements of fire and nature. What do you hope Museum guests take away from seeing these pieces? We hope viewers will find the same quiet pleasure from viewing these works as we do. The experience should feel intimate and leave the viewer with a sense of serenity.


October 3 | noon


November 7 | noon


image credits: (top, left to right) Masanao Kaneta, Haku-yu kurinuki vase, after 1988.

Glazed clay; Hiroyuki Wakamoto, Rounded vessel. Ceramic; Masanao Kaneta, Haku-yu kurinuki vase, after 1988. Glazed clay; Kiyomizu Rokubei, Fresh Water Jar. Unglazed clay. All objects Collection of Phoenix Art Museum, Gifts of Elaine and Sidney Cohen.

Explore the work of Arpana Caur (b. 1954), an artist working in India whose paintings combine aspects of Buddhist history, Asian geography, and contemporary global issues. Explore the culture, rituals, and daily life of Japan’s earliest Neolithic cultures through the collection of Phoenix Art Museum. Join London-born, British contemporary artists The Singh Twins to learn how their work combines traditional Indian miniature painting and creative digital techniques with cultural and sociopolitical commentary. Sponsored by Circles of Support and the Sikh Heritage Fund. See for details. EXHIBITION


image credit: Pablo Picasso, Female Bather With Raised Arms, 1929. Oil on canvas. Collection of Phoenix Art Museum, gift of the Allen-Bradley Company of Milwaukee. © 2018 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

PABLO PICASSO: REMIX August 4 – October 7 Orme Lewis Gallery

Picasso REMIX celebrates the life and work of Pablo Ruiz Picasso (1881–1973), regarded as one of the most imaginative and influential artists of the twentieth century. Featuring more than 30 artworks, including drawings, etchings, lithographs, and paintings, drawn exclusively from the collection of Phoenix Art Museum, the exhibition demonstrates Picasso’s stylistic versatility over the first half of the twentieth century.








July 20, 2018–February 17, 2019 Ballinger Interactive Gallery (The Hub)



October 27, 2018–March 24, 2019 Ellman and Orme Lewis galleries

RAGNAR KJARTANSSON: SCANDINAVIAN PAIN AND OTHER MYTHS November 3, 2018–April 14, 2019 Anderman, Marcus, and Marley galleries


Through Summer 2019 Greenbaum Lobby and Morrell Promenade

SELECTIONS FROM THE SCHORR COLLECTION Through 2019 Harnett and Ullman galleries

image credits: (top to bottom) Betsy Schneider, Cameron, Tucson, AZ, 2012. Photograph. Courtesy of Tilt Gallery, Scottsdale, AZ; José Guadalupe Posada, En prueba de puro amor o Regalo de calaveras (In Proof of Pure Love or Skulls’ Gift), 1910. Engraved relief print. Gift of Clayton Kirking in memory of Rick Lancaster; Ragnar Kjartansson, The Visitors (detail), 2012. Nine-channel video. Phoenix Art Museum, restricted gift of the Diane and Bruce Halle Foundation to the Phoenix Art Museum, The Art Institute of Chicago, and The Museum of Fine Arts, Houston. © 2012, Ragnar Kjartansson



Why We Give

Papp Family Foundation Arts and cultural organizations in Phoenix play a vital role in the health of our community, from education to economic development. That’s why the Papp Family Foundation chose to make a significant gift to Phoenix Art Museum. As one of the city’s oldest and strongest cultural institutions, the Museum continues to serve our community through thick and thin, promoting culture, accessibility, inclusion, and diversity.

Pictured: Rose and Harry Papp



As Marilyn used to say, “You can take a walk through these paintings.” Art brings you closer to the beauty of nature, among other things. We hope the works on view in the Marilyn and L. Roy Papp Family Gallery help visitors become curious about other cultures and times. We hope they encourage open-mindedness, respect, and diversity and provide the singular joy of finding beauty in the unexpected.

 Arizona Five Arts Circle * Current Trustee ° Past Trustee

The Museum gratefully acknowledges those whose annual gifts support our exhibitions, educational programs, activities, and services for the community. please note: This list recognizes those who have made a gift between May 1, 2017 and May 31, 2018. Corporate Council and 21st Century

Society members will be listed once annually.

CIRCLES OF SUPPORT $50,000+ °Roberta Aidem *Jo and Bill Brandt Carol and *Larry Clemmensen Andrew and *Amy Cohn Lee and *Mike Cohn The *Diane and Bruce Halle Foundation *Mrs. Lee T. Hanley *Jon and Carrie Hulburd *Dr. Parvinder Jit Singh Khanuja and Parveen Kaur Khanuja °Mr. and Mrs. Joseph O. Lampe °Richard and *Sally Lehmann *David and Dawn Lenhardt Del and *Sharron Lewis *Rose and Harry Papp  Pivotal Foundation, *Francis and Dionne Najafi *Blair and Lisa Portigal *Sue and Bud Selig Charles and *Meredith von Arentschildt $25,000+ *Ryan and Jody Backlund Allison and Bob Bertrand *Matthew Boland and Christopher Greulich *John and Bonnie Bouma *Mr. and Mrs. Drew M. Brown The *Dorrance Family Foundation *Carter and Susan Emerson *Judy and Bill Goldberg  *Ellen and Howard C. Katz Randy and *Ken Kendrick *Margot and Dennis Knight Janis and *Dennis Lyon *Kim and Steve Robson *David Rousseau Pam and *Ray Slomski $10,000+ Anonymous Jett and Julia Anderson *Craig and Barbara Barrett Ginger and *Don Brandt Deborah G. Carstens *Amy Clague *Joan D. Cremin *Denise and Bob Delgado *Eileen Elliott and Frank Mauer *Mark and Diana Feldman *John and Kathleen Graham Heather and *Michael D. Greenbaum *Paul and Mary Beth Groves *Dr. and Mrs. Meryl Haber *Lila Harnett *Tim and Shannon Jones

*Jane and Mal Jozoff Mark and Betsy Kogan Judy and *Alan Kosloff Sam and *Judy Linhart *Lori and Michael Massey *Garrett McKnight °Susan and Mark Mulzet *Mr. and Mrs. James S. Patterson, Jr. *Deanna Salazar and Randy Voigt *Ms. Ann Siner *Angela and Leonard Singer $5,000+ Anonymous (3) Milena and °Tony Astorga °John and Oonagh Boppart Betsy and Kent Bro Richard and Ann Carr Jerome Dahan Pam Del Duca Larry Donelson Beverly N. Grossman Judith Hardes Jeanne and °Gary Herberger Peter Hernandez Ricki Dee and John Jennings Carol and Kenneth Kasses °Andrew B. and Wan Kyun Rha Kim Jan and Tom Lewis Vicki and Kent Logan °Paul and Merle Marcus Susan and Philip W. Matos Diane and Larry McComber Pat and Keith McKennon Dr. and °Mrs. Hong-Kee Ong Donald and Judith Opatrny Matthew and Mary Palenica °Gail Rineberg Lois and John Rogers Barbara and Jeffrey G. Schlein Zachary Schruber Nancy Swanson Mr. and Mrs. Jonathan Tratt Mrs. Betty Van Denburgh Gilbert Waldman and Christy Vezolles °Mr. and Mrs. Louis A. Weil III $2,500+ Anonymous Kathi Belfer Cypres Joan Benjamin and Larry Cherkis James T. Bialac Christen Castellano and Veronika Sufleta Marc and Mary Ann Cavness Mary Beth and Joe Cherskov Jennifer and Bill Clark Edie and James Cloonan Robert and Vanne Cowie

Betsy and Jim Donley Mr. and Mrs. Richard R. Donnelley, III Paul Giancola and Carrie Lynn Richardson Kenneth and Janet Glaser Dean and Taylor Griffin Ms. Mary Beth Herbert and Mr. Cecil Penn Doris and Martin Hoffman Family Foundation Dr. Bill Howard and Iris Wigal Ellen and Bob Kant Dr. and Mrs. Jamie Kapner Mr. and Mrs. Robert J. Lavinia Nancy Levin and Jeffrey Flora Dr. and Mrs. Robert F. Lorenzen Mrs. Herbert J. Louis Steve and Janice Marcus Cindy and °Don Martin Sandra Matteucci Michael and Jane Murray Fred and Linda Nachman Robert and Myra Page John J. Pappas Saltlick Family Trust Jacqueline Schenkein and Michael Schwimmer Mary and Stanley Seidler Charles and Rowena Simberg  Iris and °Adam Singer Mr. and Mrs. Robert Smalley Jr. Bud and Judy Stanley Miesha Stoute Joan and Roger Strand Barbara and Jim Sturdivant Sean Sweat °Mr. and Mrs. William G. Way William C. Weese, M.D. Paul and Katherine Wolfehagen Gay F. Wray $1,500+ Anonymous (5) Judy Ackerman and Richard Epstein Sara and °Alvan Adams Dr. Dan and Miriam Ailloni-Charas Bert and Jill Alanko Makenna and Mike Albrecht  Caralee Allsworth Megan and John Anderson  Ellen Andres-Schneider and Ralph Andres  °Judson C. and Nancy Sue Ball °Carol Barmore °Alice and Jim Bazlen Uta Monique Behrens Jim Belin and Jan Krulick-Belin David and Susan Berman Neil Berman Herb and Betty Bool °Donna and Gus Boss Marel and Bryan Brady Nancy and Joe Braucher 

Linda H. Breuer Eric and Dorothy Bron Sumner Brown and Lyn Bailey Julia and Robert Bruck Robert Bulla Sue Bunch Mr. Joe Bushong and Mr. Chad Christian Rhett and Kay Butler  Dain and Sue Calvin Jerry and Stefanie Cargill Philip Carll Katherine and Charles Case Iris and Spencer Cashdan Maureen and John Chestnut Marilee and David Clarke Julie and Wes Clelland The Clements Family Elaine and Sidney Cohen Deborah and Richard Cookson  °Joyce Cooper Lattie and Elva Coor Sam Coppersmith °Bruce Covill and Lucia Renshaw Mr. and Mrs. Robert P. Damico Mr. and Mrs. Michael DeBell Luino and Margaret Dell’Osso Robert M. Dixon JoAnne Doll  Harold Dorenbecher and Mary Heiss Robert and Peggy Dunn Sydney D. Dye and L. Michael Dye Dr. and Mrs. John Eckstein Judith and John Ellerman  Maureen and Tom Eye  Mr. and Mrs. Robert Farrer Dale and Mary Fedewa  Richard and Suzanne Felker Katalin Festy-Sandor Noel and Anne Fidel Cheryl and Jeffrey Fine George and Ann Fisher Anita Fishman  Amy Flood and Larry West Dr. Stephen and Madeleine Fortunoff Susie and Don Fowls Wendy Franz and Bob Wirthlin Dr. and Mrs. Jack A. Friedland Allison Gee Dyan and George Getz Elton Gilbert  Angela and Jeffrey Glosser  Dr. David and Joan M. Goldfarb °Richard and Susan Goldsmith Laurie and Charles Goldstein Judy Gordon Peter and Wendy Gordon  Sara and Arthur Gordon Victoria and Rod Granberry Karen and James Grande continued on page 40 SUPPORT


CIRCLES OF SUPPORT (continued) Stephen Green Mr. and Mrs. James E. Grier The Harold and Jean Grossman Family Foundation Peter and Sondra Grossman Kate Groves and Warren Meyer Sam Gualtieri M.D. Jackie and Larry Gutsch  Sharon Halliday and Joseph Lee Ms. Ashley Harder Karen and Lawrence Harris Marilyn W. Harris Dr. and Mrs. Douglas Hauser Michael Hawksworth and Nori Homco Maxine Henig Linda Herman Paul and Yinglu Hermanson Lori and Howard Hirsch  Lynda and Arthur Horlick  Mimi and David Horwitz  Christine Hughes Betty Hum Nancy Husband Linda and Albert Jacobs Jeff and Sarah Joerres Curtlin and Rachel Johnson, Esq. Gigi Jordan and Bob Patterson °Dr. Eric Jungermann Lynn and Larry Kahn Donald Karner and Kathryn Forbes Ruth R. Kaspar Draga S. Kellick Kathy and Fred Kenny Eleanor and Bruce Knappenberger Carolyn Refsnes Kniazzeh Ravi and Sherry Koopot James and Ina Kort Susan Kovarik and Brian Schneider Judy Krolikowski °Carolyn R. Laflin James and Debra Larson

Bruce and Jane Lawson Norm Lazar and Betsy Vincent  °Gene and Cathie Lemon Thomas S. and Sheri A. Levin Mr. and Mrs. Robert H. Levine Shirley and Jerry Lewis Dr. Dorothy Lincoln-Smith and Dr. Harvey Smith  °K. David and Ann Lindner Michael and Susan Little Cassandra Lucas and Andrew Miller Don and Debra Luke °Mr. James Lundy and Dr. Michele Lundy Carol Ann and Harvey Mackay Ginnie Maes and Myron Weinbach Matt Magee and Randall Seale Mr. and Mrs. Daniel G. Maloney Jeffrey and Tiia Mandell  Roger and Victoria Marce Paul and Ann Markow Andrea Markowitz and Patrick O’Brien Mr. and Mrs. James Marsh Martha Martin Mim J. McClennen Carol and °Howard McCrady Tammy McLeod and John Hamilton Richard McMurray °Jim and Jean Meenaghan Janet and John Melamed  James and Ana Melikian Arthur Messinger and Eugenie Harris Victoria and Anthony Miachika  Sherrell Miller Doris and Eliot Minsker  Mike and Cindy Moore David and Judee Morrison Lynn S. Neuville Gene and Connie Nicholas Richard B. and °Patricia E. Nolan Kenneth O’Connor and Deedee Rowe Kay and Walter Oliver


How to Collect Like a Pro Tuesday, October 23, 2018 noon – 2 pm image credit: Gus Foster, Cirque of the Towers, 1990. 380 degree panoramic photograph. Collection of Phoenix Art Museum, Museum purchase with funds provided by Western Art Associates in honor of its 40th anniversary.


Dawn and Michael Olsen Carol Orloski Barbara and Donald Ottosen Leah Pallin-Hill and Bryan Hill Camerone Parker and Robert McCulloch, M.D. David and Mary Patino  Drs. Richard and Carol Peairs Jody Pelusi Janet and Malcolm Persen Helen J. Pierson Mrs. Arnold Portigal Helene and Joseph Presutti Julie and Conrad Prusak  Mrs. Maritom K. Pyron Cathy and Tom Reahard Donna Reining Mr. and Mrs. Richard Reitman Betsy Retchin  Ida Rhea  Nancy Riegel Carol and Thomas Rogers Stephena C. Romanoff  Merle and Steve Rosskam  Sandra and Earl Rusnak  Vincent and Janie Russo Val and Ray Sachs  Mary and Tom Sadvary Jana Sample Stella and Mark Saperstein  James and Linda Saunders Stephen and Lois Savage Janice C. Schade Carol and Randy Schilling  Fred and Arleen Schwartz Sheila Schwartz Arlene and Morton Scult John and Patricia Seybolt Jenna and Danny Sharaby Mr. George F. Sheer and Linda Porter Diane L. Silver and James R. Condo °Diana E. and Paul B. Smith

Donald and Dorothea Smith Lynne Smith °Charles and Marron Snead Mr. and Mrs. Richard Snell Beth Cummings Solem Lou and Larry Stein Barbara Steiner Mr. and Mrs. Richard D. Stern John and Ellen Stiteler °Betsy and Bruce Stodola Donna Stone Margaret Stone and Jonathan Dee Paula and Jack Strickstein Rick and Lynda Strusiner °Betty Lou Summers Gustavo A. Tabares Janice Tekofsky Anne and Steve Thomas Fred and Gail Tieken Mark and Mary Timpany °Gary and Diane Tooker Dr. and Mrs. Richard Towbin Pat and Phil Turberg  Jacquie and Merrill Tutton Mr. and Mrs. Kenneth A. Vecchione Patricia Ann Walsh Judith Blass Washor Annie Waters and Bob Ryan Susan and Chuck Watts Gerald Weiner Trudy and Steven Wiesenberger Mildred B. Williams Gretchen and Dick Wilson  Ronald G. Wilson and Bonnie Naegle-Wilson Dr. Judith G. Wolf  Amy Wood Stephen and Robin Woodworth Delwyn and Diana Worthington Pat and Barry Yellen °Judy Zuber

Join Amada Cruz, the Sybil Harrington Director and CEO of Phoenix Art Museum, and Allison Gee, MA, ASA, of Allison Gee Fine Art Appraisals, for the fifth annual seminar in the Art & Legacy Planning Series and learn how to master the art of collecting. Professionals receive 1.5 hours of CE credit approved for CLE, CPA, and CFP. For more information, contact Art & Legacy seminar is sponsored by Bonhams, Sacks Tierney P.A., and Versant Capital Management.

A GOOD LIFE IS ONE MADE UP OF SMALL, MEANINGFUL MOMENTS, AND THOSE MOMENTS HAPPEN IN THE PLACES WHERE FAMILIES— LARGE, SMALL, AND EVERYTHING IN BETWEEN— COME TOGETHER. PLACES LIKE PHOENIX ART MUSEUM. WHEN YOU MAKE A PLANNED GIFT TO THE MUSEUM, YOU ENSURE THAT YOUR FAMILY HAS A PLACE TO DISCOVER, GROW, AND DREAM FOR GENERATIONS TO COME. YOUR LEGACY BECOMES SO MUCH MORE THAN A FINANCIAL GIFT. IT BECOMES A FUTURE. We’d love the opportunity to tell you more about our planned giving program and how gifts like a charitable IRA rollover can help Phoenix Art Museum remain a pillar of the arts in our community. If you have already included Phoenix Art Museum in your estate plans, please let us know so we may thank you for your generosity and recognize you as a member of our 21st Century Society.

For more information, contact or 602.257.2106. PLANNED GIVING



hen Phoenix Art Museum opened in 1959, it possessed neither an endowment nor a collection. Instead, the new art museum at the heart of a young, upstart of a city was shepherded to growth by the generosity of those in its community who had the imagination to see what our city—and our Museum—could truly become. Just seven years after the Museum’s dedication, a small group of those visionaries founded the Western Art Associates, a support group of Phoenix Art Museum committed to Western American art. In 1968, the group began raising funds to purchase new acquisitions and support the exhibition of American and Western American art, and in 1973, it purchased its first artwork for the Museum—Watchers from the Housetops (1931) by Maynard Dixon (1875–1946). Thus began a decades-long legacy of generosity and support for the mission of Phoenix Art Museum. This October, Western Art Associates will celebrate its 50th anniversary. In its history, it has raised and donated funds for the purchase of 53 artworks, including those by Ernest Martin Hennings (1886–1956), Gus Foster (b. 1940), and Fremont F. Ellis (1897–1985), and supported the exhibition of works by artists such as Fritz Scholder (1937–2005), Gene Kloss (1903–1996), Gustave Baumann (1881–1971), Ed Mell (b. 1942), Louisa McElwain (1953–2013), Frederic Remington (1861–1909), and Bill Schenck (b. 1947), among many others. The group has also supported a number of education programs and artists’ lectures, all of which have magnified and celebrated the Southwestern heritage from which Western American artists have drawn. Western Art Associates, joined by their peer support groups and the Museum’s growing Membership and Circles of Support, have made it possible for the Museum’s collection to expand from its most humble, mid-century beginnings to what it is today—a remarkable selection of more than 19,000 works of American, Western American, European, Asian, Latin American, modern and contemporary art and fashion design. We, at the Museum, are truly grateful for all that Western Art Associates has done in its 50-year history to help open doors, increase access, and create a lasting legacy of art, culture, and education in the Valley of the Sun. image credit: Emil Bisttram, Ranchos de Taos Church, c. 1937. Oil on canvas. Collection of Phoenix Art Museum, Museum purchase with funds provided by Western Art Associates and Men's Art Council in honor of the 50th anniversary of Western Art Associates.

Western Art Associates




In honor of its 50th anniversary, Western Art Associates, along with Men’s Arts Council, has contributed the funds to acquire Ranchos de Taos Church (c. 1937) by Emil Bisttram (1895–1976), a founder of the Transcendental Painting Group in New Mexico who is known for his abstract paintings and recognized for his strong regionalist style.



Join Western Art Associates, a support group of Phoenix Art Museum, at the Valley Field Riding and Polo Club for cocktails, dinner, dancing, and a special awards ceremony in celebration of the group’s 50th anniversary. Tickets available soon at Sponsored by Del and Sharron Lewis.



MUSEUM NEWS Chanda Curiel-Miller has joined the Museum as Graphic Designer. Previously, Chanda served as Graphic Designer at Grand Canyon University, and Production Manager/Graphic Designer at Arizona Weddings. Gwendolyn Fernandez has joined the Museum as Family Programs Manager. Previously, Gwendolyn served as Museum Educator and Coordinator of Adult Workshops at National Gallery of Art. She earned an MA in museum studies from the George Washington University. Hanna Leister has joined the Museum as Administrative Assistant to the Deputy Director. Previously, Hanna served as Sales Coordinator and Executive Assistant at Move, Inc.–Realtor. com. She earned a BA in theatre from Arizona State University.


$157.50 (member) | $175.00 (non-member) A centuries-old craft, traditional kani weaving requires incredible skill and patience. This natureinspired scarf was made in a power loom and hand-finished, with each loose thread carefully trimmed. EVERY PURCHASE HELPS SEND A GIRL TO SCHOOL One-half of the profits from the purchase of this item funds girls-education programs in India. 100% FINE MERINO WOOL. HANDCRAFTED IN INDIA. DESIGNED IN THE USA BY BLOOM & GIVE.

Lisa Pagel has been promoted to Annual Giving Officer from Support Group Specialist. Previously, Lisa served as Chief Fashion Officer at Eco-Chic Consignments, Inc. My Sister’s Closet. She earned a BS in consumer science, textiles, and clothing from South Dakota University. Christian Ramirez has joined the Museum as Public Programs Manager. Previously, Christian served as Membership and Development Associate at The Rialto Theatre Foundation. She earned a BFA in studio art from the University of Arizona. Clay Smith has been promoted to Director of Development from Interim Assistant Director of Development. Previously, Clay served as Senior Corporate Relations Officer. Before joining the Museum, he served as Development Manager at Crohn’s & Colitis Foundation of America, and National Director of Development for HealthCorps. He earned an MA in psychology from Colorado Christian University.

NEW HIRES VISITOR SERVICES ASSOCIATE Lus Rodriguez GALLERY ATTENDANTS Aliza Aquino Daniel Baele Christopher Danowski Hammurabi Gonzalez Garcia AJ Hughes Laura Korch Bailey Dolores Latcher Martha Montour Debbie Porter Sonny Sosa Rachel Thurber




starting at $166.50 (member) |

$185.00 (non-member) Local artist Nicholas Bernard draws inspiration from modern and indigenous works to create ceramic pieces with clean lines, dramatic colors, and subtle textures. THROWN EARTHENWARE. HANDMADE IN SCOTTSDALE, ARIZONA.

The Museum Store


Discover unique items as diverse as the Museum’s collections.


starting at $17.99 (member) |

$19.99 (non-member) These handmade woolen animals, from lions and tigers to bears and bulls, combine modern and ancestral concepts. No two Twoolies are alike. 100% NATURAL WOOL. MADE IN MEXICO.


$16.20 (member) | $18.00 (non-member) Hand-felted in Nepal, these brightly colored, fair-trade purses are the perfect place for kiddos to store their treasures and trinkets for safe keeping. 100% NEW ZEALAND WOOL. HANDMADE IN NEPAL.


$130.50 (member) | $145.00 (non-member) With its hammered and polished finish, this striking silver necklace falls just below the collarbone for an elegant and modern look. (Matching earrings not shown.) .925 STERLING SILVER. 20” LONG. MADE IN MEXICO.


$31.50 (member) | $35.00 (non-member) Greek lighting designer Alexandra Tsoukala uses remnants from her installations to create pleated pieces inspired by Greek sculpture. This colorful necklace catches the light as it ebbs and flows effortlessly. 20” LONG. HAND ASSEMBLED IN GREECE WITH MATERIALS SOURCED FROM CHINA.


$53.99 (member) | $59.99 (non-member) Crafted by differently abled artisans, this chic, minimalist fruit bowl is made of three rectangles of magnetized oak puzzle-pieced together. OILED OAK AND MAGNETS. MADE IN GERMANY AT SIDE BY SIDE, A NOT-FORPROFIT COMPANY THAT SEEKS TO EMPOWER THEIR WORKFORCE.



From the Vault



he Asian art collection at Phoenix Art Museum boasts a strength in Chinese ceramics, with pieces ranging from the Neolithic era to the nineteenth century. Janet Baker, PhD, curator of Asian art, illuminates the many global influences of an ornate example of eighteenth-century Chinese export porcelain found in the Museum’s vault.

Object: Porcelain Ewer and Basin Origin: Chinese, Qing dynasty, Kangxi period, c. 1715–20 Material: Porcelain with underglaze blue, red, and gilt enamels Donor: Albertine M. Weed

Why do these objects appear European in aesthetic? This fluted scallop-shell basin and accompanying ewer are examples of Chinese export porcelain from the Qing dynasty. Once pure porcelain was achieved in the thirteenth and fourteenth centuries, the Chinese began creating porcelains commissioned by European and American clients to meet worldwide demand. The model for this set was a silver ewer and basin of European manufacture supplied by Dutch traders.

What are the descending shapes inside the basin and along the outside of the ewer? Those are decorative cascading-pendant motifs. They are a type often seen in French decorative arts, particularly lateseventeenth-century ceramics and silverwork. Is the color scheme significant? The color combination of iron red, cobalt blue, and gilt is derived from Japanese Imari ware, which was copied first by Chinese and later European ceramic manufacturers. Why is the ewer shaped like that? This ewer is meant to resemble an inverted Roman helmet. Dutch East India records from the eighteenth century reveal requests made to Chinese porcelain buyers for scallop-shell basins and ewers such as this one, described as a “helmet pitcher.”

image credit: Unknown, Basin, 1715-1720. Porcelain. Gift of Albertine M. Weed, by exchange.



Join us for

Celebrating the start of the

Sixtieth Anniversary of Phoenix Art Museum and honoring

Michael Crow, President Arizona State University

SATURDAY, NOVEMBER 3, 2018 | 6:30 pm The evening will feature an exclusive viewing of the exhibition Ragnar Kjartansson: Scandinavian Pain and Other Myths, an elegant dinner, and custom cocktails. The pARTy Co-chairs Amy Cohn

Ellen Katz

Margot Knight

Meredith von Arentschildt

The pARTy Benefactors Barbara and Craig Barrett Matthew Boland and Christopher Greulich Laurie and Drew Brown Carol and Larry Clemmensen Amy and Andrew Cohn Lee and Mike Cohn Denise and Bob Delgado Cathy Dickey Jacquie and Bennett Dorrance

Kelly and Steve Ellman Susan and Carter Emerson Laurie and Budd Florkiewicz Erin and John Gogolak Judy and Bill Goldberg Diane Halle Nancy Hanley Sharon and Oliver Harper Jeanne and Gary Herberger Foundation

Carrie and Jon Hulburd Ellen and Robert Kant Ellen and Howard Katz Tracy and Jeff Katz Randy and Ken Kendrick Margot and Dennis Knight Sally and Richard Lehmann Dawn and David Lenhardt Sharron and Del Lewis Vicki and Kent Logan

Sharon Dupont McCord Marina and Robert Moric Dionne and Francis Najafi Neiman Marcus Northern Trust Opatrny Family Foundation Rose and Harry Papp Lisa and Blair Portigal Mary Kay and Bill Post Kim and Steve Robson

Sue and Bud Selig Pam and Ray Slomski Paula and Robert Smalley Snell and Wilmer L.L.P. DeeDee and Ken Vecchione Meredith and Charlie von Arentschildt Jennifer and Bruce Ward Christine and David Watson Wells Fargo Listing as of 06.22.2018

Space is limited. To reserve tickets early or for more information, please contact 47

Nonprofit Organization US Postage Paid Phoenix AZ Permit Number 402

WORLDS Art & Islam Through Time & Place OPENING JANUARY 2019 Explore the rich and geographically diverse history of Islamic art through a collection of more than 100 artworks and objects, including carpets, ceramics, jewelry, and paintings, spanning more than a millennium.

image credits: (left to right, top to bottom): Wall Tiles with Floral and Geometric Motifs, Pakistan, 17th–18th century. White paste clay body with white, blue and turquoise glazes. Newark Museum, Gift of Paul F. Walter, 1997; Kubachi Ware Dish with Honeycomb and Fish-scale Motifs, Tabriz, Iran, ca. 1600, Safavid Period (1501–1722). Fritware polychrome painted over white slip under transparent glaze. Newark Museum Purchase, 1935; Textile of Crescent Moon and Stars, Burkina Faso, late 20th century. Factory printed cotton. Newark Museum Purchase, 1995; Molded Luster Tile with Sentence Fragment in Raised Calligraphy, Floral, Avian and Geometric Motifs, Kashan, Iran, first half of the 13th century. Molded fritware polychrome painted over white slip under transparent glaze. Newark Museum Gift of Herman A. E. Jaehne and Paul C. Jaehne, 1938; Bowl with Foliate and Geometric Motifs, Iran, late 13th–early 14th century, Ilkhanid Period (1256–1353). White paste body with black slip and turquoise glaze. Newark Museum Gift of Bertha Hernstadt, 1961; Knotted Prayer Rug with Mihrab, Two Ewers, Floral and Geometric Motifs, Mucur, Turkey, 19th century, Ottoman Period (1299–1922). Wool, silk. Newark Museum Gift of Sylvia Such, 1944; Pendent with Safavid Revival Image of Ali Aya Toasting with Attendents with Rope Border, Iran, Qajar Period (1789–1925). Jade. Newark Museum Purchase, 1929; Textile of Mosques with Sun, Moon and Stars Inscribed in Naskhi Script, Burkina Faso (West Africa), late 20th century. Factory printed cotton. Newark Museum Purchase, 1995; Molded Luster Tile with Raised Braided Border and Cowherd Witnessing a Lion Attack a Calf against a Floral Background, Iran, first half of the 13th century. Molded fritware polychrome painted over white slip under transparent glaze. Newark Museum, Gift of Mary Vanderpool Pennington, 1949, Howard W. Hayes Collection; Khayamiya Panel with Calligraphic, Geometric and Architectural Motifs, Cairo, Egypt, before 1929. Cotton appliqué. Newark Museum Purchase, 1929.

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


Phoenix Art Museum Magazine - F/W 2018  

Learn more about upcoming exhibitions, including Teotihuacan: City of Water, City of Fire, Rauschenberg and Johns: The Blurring of Art and L...

Phoenix Art Museum Magazine - F/W 2018  

Learn more about upcoming exhibitions, including Teotihuacan: City of Water, City of Fire, Rauschenberg and Johns: The Blurring of Art and L...