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

EDITORIAL STAFF Executive Editor | Nikki deLeon Martin Managing Editor | Samantha Andreacchi Associate Editor | Paula Ibieta Editor-at-Large | Josselin Salazar Contributing Editors Margaree Bigler, Public Relations and Digital Communications Manager Vanessa Davidson, the Shawn and Joe Lampe Curator of Latin American Art Betsy Fahlman, Adjunct Curator of American Art Averi Gutierrez, Curatorial Assistant of Latin American Art Kaela Hoskings, the Gerry Grout Education Director Lani Hudson, Marketing and Audience Development Manager Brian Jennings, Curatorial Assistant of Fashion Design Andrew Kensett, Curatorial Assistant of Photography Patricia Peregrine, Head Librarian, Lemon Art Research Library Becky Senf, the Norton Family Curator of Photography Dennita Sewell, the Jacquie Dorrance Curator of Fashion Design Gilbert Vicario, the Selig Family Chief Curator Rachel Zebro, Curatorial Associate of Modern and Contemporary Art Editorial Intern | Kaylie Volpe Creative Director | Michael Bartley 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







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Letter from the Chair Letter from the Director The Checklist Do(ing) More Dancing Around Art On View In Memory | Bruce Halle Why We Give

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Acknowledgements | Circles of Support Why We Give Recent Acquisitions In Memory | Joseph Lampe Museum News The Museum Store From the Collection Luncheon of Legends

16 Valeska Soares: Any Moment Now 20 Iris van Herpen: Transforming Fashion 26 To be Thirteen ON THE COVER | image credit: Iris van Herpen, Voltage, Dress, January 2013. In collaboration with Philip Beesley. Laser-cut 3D polyester film lace and microfiber. Collection of the designer. Photo by Bart Oomes, No 6 Studios. image credits: (above) Valeska Soares, Un-rest, 2010. 128 footstools and 1 glass chair. Courtesy of Fortes D’Aloia & Gabriel, São Paulo and Rio de Janeiro, and Alexander Gray Associates, New York. (opposite page, middle inset circle) Betsy Schneider, Sebastien, Sharon, MA, 2012. Photograph. Image courtesy of Tilt Gallery, Scottsdale, AZ.





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

FROM THE CHAIR of the Board of Trustees DEAR FRIENDS OF PHOENIX ART MUSEUM, As a longtime resident of the Valley of the Sun, I have always valued Phoenix Art Museum. From weekend visits to exhibition openings, I have often been impressed with the world of experiences that the Museum offers its Members. But in Fall 2017, when I became the Chair of the Board of Trustees, I began to gain an even deeper perspective on the Museum and what it means to its community. Today, I have come to see the unexpected dimensions of the Museum and the role it serves in its community. From programs that provide enriching experiences for people living with dementia and their caregivers to hands-on art making for children and their families to exhibitions of some of the most acclaimed and recognizable names in the art world and a robust curatorial research and publications program, Phoenix Art Museum truly does bring the world to its community and its community to the world. Exploring the galleries and public gathering spaces during First Fridays and Discount Tire Free Family Weekends, I see the impact the Museum has on young people creating their first meaningful connections with arts and culture. During monthly Senior Coffee Socials for Members aged 65 and older, I see the ways in which the Museum serves as a place for our most seasoned visitors to make new friends and enjoy lively conversations with those who share their passion for art and learning. Through a community partnership program with the University of Arizona’s medical school, medical students are guided by Museum educators through immersive experiences in the galleries that hone their communication, listening, and observational skills, empowering them to become better healthcare practitioners. Through programs like Teen Art Council and its comprehensive internship programs, the Museum fosters future arts leaders of all ethnic and socioeconomic backgrounds, ensuring diverse perspectives in the arts and education for decades to come. I share these experiences with you because I hope that they will inspire you to take a closer look at your Phoenix Art Museum, to see art here, to see more here, and most of all, to see yourself here, in an entirely new way. I hope that you will take the opportunity in the months ahead to explore all that the Museum has to offer and to discover new ways in which the Museum can enrich your life, the lives of your friends and family, and the lives of so many in our shared community. With gratitude,

*Honorary Trustee

JON HULBURD Chair of the Board of Trustees Phoenix Art Museum





want to take this opportunity to share with you some exciting news about a new program at Phoenix Art Museum that focuses on museum leadership.

Last summer, the Ford Foundation and the Walton Family Foundation joined forces to create a new funding opportunity to support creative strategies for diversifying management and curatorial staff in art museums. The Diversifying Art Museum Leadership Initiative is a response to a 2015 Mellon Foundation study that found that museum leadership positions did not reflect the demographics of the U.S. population. In fact, only 16% of those jobs are held by people of color. Out of the more than 80 institutions that applied, Phoenix Art Museum is one of only 20 that received a grant. We are enormously proud to be in the inaugural cohort of this new program, along with the Art Institute of Chicago, the Los Angeles County Museum of Art, and the St. Louis Art Museum, among other great museums. The Museum’s initiative will begin with its Teen Art Council and continue through the undergraduate and graduate internship program. It also adds a new curatorial fellowship that will engage a young art historian with an MA or PhD in a two-year position that culminates in their own exhibition and catalog. The goal is to provide professional management training that can lead to museum careers for participants. Ideally, a student could start as a teenager, continue with Phoenix Art Museum as an intern during college, and then apply for the curatorial fellowship as a graduate student.

Having started my own career with an internship at the Guggenheim Museum in New York, I know how impactful these opportunities can be. As I dream about the possibilities, I like to think that the curatorial fellow could one day end up in my job as the Sybil Harrington Director of Phoenix Art Museum. I would like to end this letter with a personal note about two wonderful supporters of the Museum and the entire community. Sadly, in January, we lost Bruce Halle and Joe Lampe. Both Bruce and Joe were shining lights of warmth and happiness, who were beloved by their families and thousands of friends from the business, art, and philanthropic worlds. I consider myself fortunate to have known them, and our deepest sympathies go out to Diane Halle, Shawn Lampe, and their entire families. With gratitude,

AMADA CRUZ The Sybil Harrington Director and CEO Phoenix Art Museum

As we position the Museum as a civic institution that serves its diverse communities, the educational role of the organization becomes paramount. We must nurture the next generation of museum audiences, supporters, and leaders, especially as arts education programs in public schools continue to receive so little support. 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.



Fashion is more than clothing. It is a statement of who we are and how we want the world to see us. Join The Arizona Republic and for a night celebrating fashion, self-expression, and storytelling at the Museum. Each ticket includes free entry to Iris van Herpen: Transforming Fashion.

Join us for the inaugural Lenhardt Lecture, featuring internationally renowned American artist Jim Hodges. Based in New York, Hodges creates art that ranges in scale from small installations to oversized, multi-ton sculptures and transforms everyday objects into evocative sites that merge the personal, political, and universal. His works explore such themes as identity, love, mortality, and loss and have been the subject of exhibitions at museums around the world, Photo by Luke Copping Photography. including the Hirshhorn Museum and Sculpture Garden (Washington, D.C.), the Walker Art Center (Minneapolis, MN), and the Centro Gallego de Arte Contemporáneo (Spain).

March 14 | 7 pm

April 24 | 7 pm

Please note: Tickets for this event can be purchased on The Arizona Republic website,


Brazilian-born, New Yorkbased artist Valeska Soares turns everyday objects into interactive installations and sensory experiences. Her work demonstrates a fascination with space and time, as well as what occurs beyond their perceived limits. Join us Photo credit: Vicente de Paul. for Soares’ first-ever public appearance in Arizona to learn more about the exhibition Valeska Soares: Any Moment Now and her unique artistic practice. Sponsored by Kent and Vicki Logan.

JUST DANCE DANCEFEST 2018 April 6 | 6 pm

If you’re a fan of dance, don’t miss the 2018 DanceFest. DanceFest at the Museum is a free annual festival that features performers from all over the Valley, including high-school students, college groups, and professional dance companies and artists of local and national prominence. See performances on the mainstage and in select gallery spaces, view screenings of dance films, and participate in an interactive dance experience!


Join special guest Clayton Kirking, the Museum’s former head librarian and first curator of Latin American Art, in conversation with a panel of experts to get a rare, behind-the-scenes look at the Lemon Art Research Library. Learn how curators, librarians, and scholars collaborate to create exhibitions and build collections.

The Lenhardt Lecture is a key component of the new David and Dawn Lenhardt Contemporary Art Initiative. Each year, a prominent contemporary artist will visit the Museum to give a public lecture and lead an educational program for Valley students. Other components include the Lenhardt Emerging Artist Acquisition Fund and a future named gallery space located in the Ellen and Howard C. Katz Wing for Modern Art.


Since 2017, The Whole Story has brought storytellers from all walks of life to the Museum, bringing greater depth and breadth to our understanding of the Black perspective and experience. Join us on First Friday, May 4, at 7:30 pm for the next installment of this popular series that celebrates our differences, reminds us of our similarities, and, most importantly, connects us through the sharing of our stories.

Sponsored by Gene and Cathie Lemon.


For more details and a full listing of events, visit our online calendar at




ince relocating to Arizona from Connecticut to complete her BFA at Arizona State University, Lisa Sette, owner and director of Lisa Sette Gallery, has spent decades positively impacting the Valley art community. In the early 1980s, she helped transform Phoenix into a creative hub for contemporary artists when she co-founded with Joseph Segura a fine art printmaking studio in Tempe. The studio produced prints with artists as acclaimed and diverse as Enrique Chagoya, Judy Chicago, Keith Haring, Faith Ringgold, Vik Muniz, Fritz Scholder, and James Turrell. In 1985, she opened Lisa Sette Gallery, an art space committed to showcasing the work of contemporary artists from around the world who address the social issues of our age.

Courtesy of Lisa Sette Gallery.

“I’ve always been in the arts. It’s kind of natural for me to go to the local art museum and want to get involved and collaborate.”

With such a deep commitment to nurturing the local art community, it was only a matter of time until Sette’s reach extended to leave a lasting mark on Phoenix Art Museum. “I’ve always been in the arts,” Sette said. “It’s kind of natural for me to go to the local art museum and want to get involved and collaborate.” A Member for more than 30 years, in 1987 Sette donated an edition of prints by then-rising artist Keith Haring to Phoenix Art Museum’s contemporary art collection to support fundraising efforts and has since worked with the Museum on a number of projects. Additionally, Sette sponsors and coorganizes a popular annual summer film festival with Contemporary Forum, a dynamic volunteer group that supports the development of contemporary art at the Museum. “Films can be more accessible than art and much like art, they can bring issues to light in a personal yet universal way,” Sette explained when asked about her motivation to showcase film at the Museum.


for more information on the film series.

The Contemporary Forum Summer Film Festival debuted in June 2007 with the documentary Who the #$&% Is Jackson Pollock? This year’s festival, The Art of Satire, will feature films chosen by Sette in collaboration with the Museum and Contemporary Forum. “To me, our world is so absurd right now that I feel like we should turn to satire and look back at ourselves,” Sette said. The films selected will showcase characters presenting moral courage in an uncertain world to reflect on social issues facing our societies today.


Lisa Sette, Phoenix Art Museum, and the Contemporary Forum Summer Film Festival DO(ING) MORE




ot everyone learns best by looking; some prefer to learn by watching, and some simply need to move. In recent years, Phoenix Art Museum has expanded its public programs to include dance, with the goal of teaching visitors that they can connect with and respond to art in different ways. As a result, the Museum has exposed visitors of all ages to movement and the performing arts on many First Fridays and Discount Tire Free Family Weekends, and according to Kaela Hoskings, the Gerry Grout Education Director, the Museum has also deepened its level of collaboration with local dance artists. “Most of the dance performances we feature are completely original choreography, created especially for the Museum,” Hoskings said. “We partner with the artists to guide them through the challenges that come with performing amidst artwork, or in a crowd of people that may have five or 50 spectators. It’s a true collaboration that begins with the Museum and its collection.” We spoke with two dancers, Liliana Gomez and Nicole Olson, who have been creating and performing original work for Phoenix Art Museum events since 2015 and 2016, respectively, to learn more about their experiences dancing through the galleries.

UPCOMING EVENT: DANCEFEST 2018 FIRST FRIDAY, APRIL 6 Haven’t witnessed a pop-up performance at the Museum yet? Or just want to see more? Stop by the Museum on April 6 for DanceFest 2018. See The Checklist on page 8 for details.



As a dancer, what’s your biggest challenge when performing for an audience in the Museum? Nicole Olson: It’s all about the context. If you’re dancing in a gallery, you don’t have the usual comfort of being separated from your audience on a stage. They’ll see everything—all the subtleties of your movement, every facial expression, any detail on your costume. You don’t have the expectation that your audience is prepared to sit quietly and focus on the performance, as you would in a theater. It’s a completely different set of parameters than many dancers are used to, but I think my work is often more successful when I have those guidelines. It forces you to be creative in a new way. Liliana Gomez: I love both the freedom and the guidelines that are given to me. It’s a new challenge to create something more interactive that helps visitors connect to art; it’s all I’m thinking about lately. How do you stop dance from being a presentation and allow it to become something the audience is involved in? It’s something that the dancers and the Museum are figuring out together.

Courtesy of Airi Katsuta.

What should Museum visitors know or be aware of to enjoy a dance performance? NO: Of all the arts, dance best compares to poetry. Dance is about a moment in time. It’s about a feeling or an expression, and the experience of something fleeting. It adds another dimension to the visual artwork at the Museum. A single movement can make everything look different. What do you think about when choreographing a piece that relates to an artwork? LG: I sit in front of a work for a long time, getting to know the colors, the title, the textures, the layers. I ask myself what it’s making me feel, and I put that in movement. For the First Friday in 2015 that celebrated the Andy Warhol exhibition, I used experimental gestures; I wanted to create a funky feel, like the feel of his art. For the PhxArt Project: CityScape and Melissa Martinez’s Drip, Dribble, Drop installation, I loved the space and wanted to highlight its architectural elements, as well as how much fun I saw people having taking pictures of themselves with the umbrellas. What is your favorite part of bringing movement to the Museum’s galleries? NO: Reaching out to people who otherwise wouldn’t see dance. Our city isn’t set up like New York, where there are pop-up performances happening spontaneously in the subway or on street corners. The Museum is an amazing alternative for us in Phoenix, especially on freeaccess days. Visitors may or may not walk away from a dance piece mid-performance, but they do become more comfortable with seeing dance. And the people who do like it will end up buying tickets to performances in the future. Even if it’s only one person at a time, it’s worth it. LG: It adds another layer to the art. Paintings and sculptures come alive with dance. I want visitors to see through my work how a painting inspired me and how I’m sharing a new perspective on the artwork, and maybe even encourage them to learn and research more about what they saw. That’s what I hope my work does for other people: I hope it gives them more layers. How has the opportunity for artists to perform at the Museum impacted the Phoenix dance community? LG: It’s been so positive. Any museum in a huge metropolis makes you think of foreign names and art from faraway places. But now Phoenix Art Museum is also catering to its own community of artists and is becoming a place to be seen, a home, and a platform. It’s an excellent move for Phoenix-based artists who are willing to take on this opportunity. What’s your best memory of performing at the Museum? NO: The best moment I had at the Museum was when I performed at the “Hot”-themed Discount Tire Free Family Weekend last summer. The piece I was performing, “Genesis,” was based on the myth of the phoenix that rises from the ashes, and I performed it in front of Cornelia Parker’s Mass (Colder Darker Matter) (which is constructed from the burnt remains of a church). I had this costume with giant wings. At the end of the performance, the room was completely silent. Then a young girl let out a single “Wow!” that you could hear echo through the gallery. It was such a genuine expression of how she felt at that moment. To have that experience wasn’t something she had planned on, but performing on free days allows us to make that happen. People might not be seeking out dance when they come to see art, but that’s the joy of all of the activities that happen at the Museum. When something is finally in front of you, you realize what you’re missing. DANCING AROUND ART



ALEXANDER CALDER: AN OUTBURST OF COLOR Orientation Gallery Through April 1

BORDER CROSSINGS: MEXICO AND THE AMERICAN SOUTHWEST Marshall and Hendler galleries Through May 9

VIDEO CROSSINGS SERIES: ERICK MEYENBERG Marshall Gallery Video Room Through May 9

VIDEO CROSSINGS SERIES: MARY LUCIER Hendler Gallery Video Room March 3 – May 27


PHOENIX ART MUSEUM EMPLOYEE ART SHOW Orientation Gallery April 11 – June 24


Ballinger Interactive Gallery (The Hub) Through July 8

CONTEMPORARY FORUM AWARD WINNERS Marshall and Hendler galleries May 23 – September 23

SELECTIONS FROM THE SCHORR COLLECTION Harnett and Ullman galleries Through 2018

image credits: (clockwise from top left) Mary Lucier,

The Plains of Sweet Regret, 2004. Five channels of synchronized video with stereo sound. Courtesy of the artist; Poetry in Motion. Installation view, Phoenix Art Museum, Phoenix, 2018; Video Crossings Series: Erick Meyenberg. Installation view, Phoenix Art Museum, Phoenix, 2018; Border Crossings: Mexico and the American Southwest. Installation view, Phoenix Art Museum, Phoenix, 2018; Philip C. Curtis, My Studio, 1935. Oil on board. Collection of Phoenix Art Museum, gift of Terese Greene Sterling; Vincent Sellaer, Judith with the Head of Holofernes, late 16th century. Oil on panel. Long term loan from the Schorr Collection.






| Bruce Halle

ruce Halle, longtime benefactor and friend to Phoenix Art Museum, passed away on January 4, 2018. Mr. Halle and his wife, Diane, generously supported Phoenix Art Museum, with a special focus on expanding access for young people and families to experience art, and a deep passion for and commitment to growing the Museum’s collection and exhibition of Latin American art. Bruce was born in 1930 in Springfield, Massachusetts. His entrepreneurial spirit was ignited as a young man when, during the Great Depression, he delivered newspapers, mowed lawns, and even dug graves to help his family make ends meet. A Marine Corps veteran of the Korean War, Bruce graduated from Eastern Michigan University in 1956 and just four years later established his first tire shop in Ann Arbor, at the age of 30. That first tire shop would expand to become Discount Tire Company, with more than 900 locations across the country and more than 18,000 employees. His family grew to include four children and seven grandchildren.

generously support a number of social and cultural causes that he held dear. Along with their longtime support of Scottsdale Healthcare, ChildHelp USA, the Halle Heart Center, and a number of educational institutions including Bruce’s alma mater, the Halle family gave generously in support of visual arts and arts education at Phoenix Art Museum. In 2015, after a visit to the Museum during free-access First Fridays, Bruce was astonished by the crowds and moved by how many young people were able to visit the Museum when the cost of admission was no longer a barrier. In 2016, he and Diane established Discount Tire Free Family Sundays, which grew to Free Family Weekends in 2017. Through their support, the Museum opens its doors free of charge on the second weekend of every month to families of all sizes and economic backgrounds, with educational programming, live music, and hands-on artmaking activities to enrich the visitor experience. The Halles’ generosity has forever shaped the relationship of many thousands of young people to art and the Museum.

Bruce and Diane began collecting Latin American art in 1995. Their collection was first inspired on the advice of former Phoenix Art Museum librarian and Latin American art curator Clayton Kirking, who introduced Diane and Bruce to the art of the region. Today, their collection is known as the Diane and Bruce Halle Collection, which has grown to include more than 500 works by some of the most compelling names in Latin American art and is considered to be the most important such collection in the world.

Bruce Halle was a model of profound generosity, whose long life was guided by an unwavering commitment to the values of hard work, determination, self-reliance, and entrepreneurship, all of which drove his success as a self-made man. Mr. Halle will be remembered for his devotion to his family, his strong faith, his compassionate commitment to his community, his passionate love for the arts, and his matchless care for and loyalty to his employees, whom he viewed as extensions of his own family.

Along with his tremendous success as an entrepreneur and his passion for art, Bruce will perhaps be most remembered as a man of faith, whose personal values motivated him to

We are grateful for the honor of knowing Bruce, and we remain inspired by all that his generosity has made possible for our museum and our community.



Please Save the Date for

Celebrating the start of the

Sixtieth Anniversary of Phoenix Art Museum and honoring

Michael Crow, President Arizona State University



For more information, please contact

Why We Give

NEW CONTEMPORARY ART INITIATIVE PROMISES BIG IMPACT The David and Dawn Lenhardt Contemporary Art Initiative expands contemporary art at Phoenix Art Museum


n December, Phoenix Art Museum announced the establishment of the David and Dawn Lenhardt Contemporary Art Initiative, a significant and comprehensive investment in the growth and visibility of contemporary art collecting, education, and exhibition at the Museum. “We are excited to partner with Phoenix Art Museum on an initiative that will significantly impact the contemporary art department and raise the Museum’s profile within Phoenix and the United States,” said David Lenhardt, who served as CEO of PetSmart until 2015 and is a member of the Museum’s Board of Trustees. “We want Phoenix Art Museum to be a top contemporary art destination for collectors and artists.” The first of its kind in the Museum’s nearly 60-year history, the three-part initiative will impact the Museum’s contemporary art collection in a number of areas. The first component of the multifaceted, multiyear gift is the annual Lenhardt Lecture, which will bring an internationally renowned contemporary artist to the Museum each year to expose the community to prominent artists who have made a lasting impact in the art field. Additionally, the lecture will include an artist-led educational program for Valley students. Another core component is the Lenhardt Emerging Artist Acquisition Fund, designed specifically to collect works by next-generation contemporary artists. Working with artists selected in collaboration with Gilbert Vicario, the Selig Family Chief Curator, the Fund will infuse the Museum’s collection with works by promising new contemporary artists. Looking ahead, the Initiative will expand to include a named gallery space in the Ellen and Howard C. Katz Wing for Modern Art. The gallery will feature acquisitions of the Lenhardt Emerging Artist Acquisition Fund, special exhibitions, and significant loans from national and Phoenix collectors, including a rotating series of artworks from the Lenhardt family’s private collection, which includes works by artists such as Jim Hodges, Richard Estes, and Andy Warhol. In its future phases, the Initiative will evolve to includes gifts of contemporary art from the Lenhardt family. “We are grateful to the Lenhardt family for their very generous support of contemporary art at Phoenix Art Museum,” said Amada Cruz, the Sybil Harrington Director and CEO. “This

investment empowers the Museum to strengthen its focus on this key collecting area and has the potential to enable us to attract important contemporary art collections to Phoenix in the future.” The inaugural Lenhardt Lecture, on April 24 in Whiteman Hall, will feature prominent American artist Jim Hodges. Known for using a range of materials in his work, Hodges creates art that ranges in scale from small installations to oversized, multi-ton sculptures and transforms everyday objects into evocative sites that merge the personal, political, and universal. His works evoke such themes as identity, love, mortality, and loss and have been the subject of exhibitions at museums around the world, including the Hirshhorn Museum and Sculpture Garden (Washington, D.C.), the Walker Art Center (Minneapolis, MN), and Centro Gallego de Arte Contemporáneo (Spain). WHY WE GIVE



or many visitors, from newcomers to longtime museum-goers, contemporary art remains something of a mystery. Why does an everyday object, like an antique footstool or a vintage book cover, become art when it’s placed in a museum? How do we connect with a minimalist painting or installation when its intent may be a mystery, its meaning obscured? These examples of highly conceptual art seem to exist in a completely different realm than Renaissance sculptures or the paintings of the Old Masters of European art, often leading to the inevitable question: Is it art at all?

continued on page 18



VALESKA SOARES: ANY MOMENT NOW Marcus and Marley galleries March 24 – July 15



FROM ARCHITECT TO ARTIST In 1991, Valeska Soares made an important transition from architecture to art when she presented her first solo exhibition in Rio de Janeiro’s Espaço Cultural Sérig Porto. She moved to New York in 1992 and completed an MFA at Pratt Institute in Brooklyn within two years. Soares has maintained her home base in Brooklyn ever since and has shown her work all over the world, including representing Brazil at the 51st Venice Biennial (2005). Her pieces are included in museum collections belonging to the Tate Modern (London), the Hirshhorn Museum and Sculpture Garden (Washington, D.C.), the Los Angeles County Museum of Art (Los Angeles), the Solomon R. Guggenheim Museum (New York), the Daros Foundation (Zurich), and the Inhotim Centro de Arte Contemporânea (Brumadinho, Minas Gerais, Brazil), among many others.

Valeska Soares: Any Moment Now is organized by Phoenix Art Museum and the Santa Barbara Museum of Art as part of the Getty’s Pacific Standard Time: LA/LA initiative, with major support provided through grants from the Getty Foundation. The exhibition at Phoenix Art Museum is made possible by the generous support of Shawn and Joe Lampe and by grant funding awarded by the National Endowment for the Arts, Art Works. image credits: (pages 16-17) Valeska Soares, Any

Moment Now..., 2014. Vintage dust jackets mounted on linen panels. Courtesy of Fortes D’Aloia & Gabriel, São Paulo and Rio de Janeiro, and Alexander Gray Associates, New York; (above) Valeska Soares, Finale (detail), 2013. Antique table, 151 antique glasses, 5 pitchers, 3 decanters, liquor and mirror. The Ella Fontanals-Cisneros Collection, Miami. (opposite page, top to bottom) Valeska Soares, Duet IV, 2011. Hand-carved marble. THE EKARD COLLECTION; Valeska Soares, Edit (The Unknowable), 2012. C-print. Courtesy of Fortes D’Aloia & Gabriel, São Paulo and Rio de Janeiro, and Alexander Gray Associates, New York; Valeska Soares, Stop Motion, 2012. 40 disco balls, motors, and computer. Courtesy of Fortes D’Aloia & Gabriel, São Paulo and Rio de Janeiro, and Alexander Gray Associates, New York.



One of the latest exhibitions organized by Phoenix Art Museum, debuting on March 24 and on view through July 15, may offer some illuminating answers to these very questions. Valeska Soares: Any Moment Now, organized by Phoenix Art Museum and the Santa Barbara Museum of Art (SBMA) as part of the Getty’s Pacific Standard Time: LA/LA initiative, is a mid-career survey of the work of Valeska Soares. A Brazilian-born artist now based in Brooklyn, New York, Soares is known for creating multimedia installations, as well as sculptures, collages, and assemblages, that often incorporate scent, sound, and motion with a uniquely clean, polished aesthetic. Born in 1957 in Belo Horizonte, Brazil, Soares was originally trained as an architect. She received a Bachelor of Architecture from the Universidade Santa Úrsula and a postgraduate diploma in the History of Art and Architecture from the Pontificia Universidade Católica while living in Rio de Janeiro. When encountering Soares’ work for the first time, keeping the idea of architecture in mind can serve as a helpful guide. Whether it’s an imposing cathedral with soaring ceilings, a giant concert arena, an intimate library, or even a white-walled museum, a well-designed structure often provokes an emotional and bodily reaction. A great building makes us aware of our bodies existing in relation to space, lighting, and color, or functioning as part of a living structure, activated by a human presence. It can inspire profound emotions and sensations, from worship and awe to fear or comfort, joy or nostalgia, proving that the experience of a great work of architecture revolves around feeling, not knowledge. Yes, learning about the technological developments that made the vaulted ceilings of Old World-cathedrals possible, or how 20th-century skyscrapers got to be so tall, can be fascinating, but it is by no means vital to appreciating the great buildings of the world. This idea of individual experience and sensation lives at the core of Soares’ artwork. Although her practice takes

on many forms, including installations, sculptures, and paintings, her art shares a common purpose: to serve as a trigger, entirely dependent on the subjective experience of each individual viewer. One of the first things viewers may notice in Any Moment Now is the number of blank surfaces. White walls stand free of labels, as the artist has chosen to exclude most extended texts from the exhibition, encouraging visitors to rely on their own interpretations. A pair of pristine marble sculptures creates an incredible illusion of soft, white pillows bearing the imprint of two people who have just gotten out of bed. A stainless steel, bed-like floor sculpture unexpectedly perfumes the air; this plinth turns out to be filled with fragrant Stargazer lilies, replaced weekly to maintain the aroma. Even artworks that do incorporate words, like the vintage book covers in the exhibition’s titular work, Any Moment Now, suggest meaning rather than spell it out, with titles such as The Morning After and Now or Never. The polished, minimalistic look of Soares’ art encourages viewers to project their own thoughts or desires onto deceptively blank exteriors. Similarly, the everyday objects that Soares incorporates into her installations are meant to elicit emotions and memories and also demand viewers’ active engagement. These items are things we all encounter in everyday life, including glasses, furniture, books, tables, light bulbs, and mirrors. For the most part, their physical forms haven’t been altered: it’s their placement in relation to one another that gives them new life as art objects. But Soares does not ask the viewer to consider an antique footstool or a decorative wineglass simply because they are aesthetically pleasing. To see her work in this light is not to see it at all. Soares takes such objects and, by placing them in inventive arrangements or imbuing them with scent, motion, sound, and even physical touch, she turns them into metaphors of everyday experience, works that evoke memories of a universal, deeply human nature. That’s not to say

Soares’ work is highly politicized or sociohistorical. Instead, it deals with love, desire, intimacy, and relationships; the passing of time; dreams that may never materialize but lay dormant nonetheless. The meaning of Soares’ work is not a puzzle to put together or a problem to solve, and it doesn’t—it can’t—exist without each individual experience, each viewer’s memories and emotions that surface, triggered by the sights and sounds of the work. In its conceptual origins, Soares’ artwork is incredibly complex. Soares is the artistic heir of a long line of Brazilian artists who made key contributions to 20th century art, and her work has built upon those achievements to leave a crucial impact on the international legacy of installation art. The show’s exhibition catalog features several essays, including two by co-curators Vanessa Davidson, the Museum’s Shawn and Joe Lampe Curator of Latin American Art, and Julie Joyce, SBMA’s curator of contemporary art. The essays detail the profound, myriad layers that can be explored in Soares’ work, from allusions to world literature to how the artist deals with the idea of love, a topic considered unworthy of artistic treatment during the 20th century. However, the crucial current that runs through the catalog, and is palpably felt in the work itself, is how strongly Soares’ art insists that the viewer’s emotions and sensations are the key to its meaning. Valeska Soares: Any Moment Now simply asks us to experience. And it also reminds us of an important possibility—that although many kinds of knowledge may influence the process of creation, an artwork is rarely complete until it encounters a viewer, whose experiences of sights and sounds, through the lens of memories, sensations, emotions, and dreams, can transform an ordinary object into something extraordinary.

Soares’ work deals with love, intimacy, and relationships; the passing of time; dreams that may never materialize but lay dormant nonetheless.



the art of



the science of

IRIS VAN HERPEN: TRANSFORMING FASHION Through May 13 Steele and Ellman galleries




stark-white skeletal structure. A diaphanous cloud of metal gauze. A feathered bird perched atop a shoulder. A shimmering halo radiating, engulfing, mystifying. These fantastical shapes, textures, and compositions are a few of many dominating the space of Phoenix Art Museum’s Steele and Ellman galleries, plunging visitors into the haute couture world of a Dutch designer known for her limitless imagination, painstaking workmanship, and radical designs. On view at Phoenix Art Museum through May 13, Iris van Herpen: Transforming Fashion surveys 15 collections of one of the fashion industry’s most forward-thinking creators. Co-organized by the Groninger Museum and the High Museum of Art and curated by Sarah Schleuning, Mark Wilson, and Sue-an van der Zijpp, the exhibition guides viewers through more than 40 ensembles and accessories, tracing the evolution of a designer who continually pushes the boundaries of self-expression and reimagines the meaning and purpose of fashion. Born in a small village in Holland, Iris van Herpen grew up dancing and playing the violin. It wasn’t until high school that she discovered fashion and began making her own clothes as a means to foster her growing sense of identity. At 18, she entered the ArtEZ Institute of the Arts in Arnhem to study fashion design and quickly discovered how fashion allowed her to blend her background in dance with her desire to work with her hands. “I think that is still a thing for me, visible in my work today, where it’s really about movement and energy all the time,” van Herpen said in an interview with Sarah Schleuning. She went on to intern at Alexander McQueen and Claudy Jongstra, and in 2007, right after



Known for her willingness to experiment, van Herpen creates garments that read like fine art, as beautiful as they are surprising and unusual. Her designs often leave viewers wondering what it is they are witnessing—is it a dress, a scientific specimen, or something in between?—and in some instances, her work has been likened to the stuff of science fiction, often pegged as other-worldly, mathematical, and, most commonly, futuristic. But Dennita Sewell, the Jacquie Dorrance Curator of Fashion Design at Phoenix Art Museum, resists this idea of classifying van Herpen as a futuristic designer. “We keep saying the future as it relates to her, but it’s now.” Sewell said. “It’s contemporary.” And it’s true—van Herpen is conceptualizing and creating in the present. Nevertheless, there is no denying that she is one of the most innovative designers of our time. Van Herpen was the first to send a 3D-printed dress down the runway, an experiment that paid off despite her uncertainty whether it would work on a human body, and in a recent show, she upped the performative ante by inviting actress Gwendoline Christie to lay in the middle of the runway on a round concrete platform as a dress was 3D-printed onto her body. However, van Herpen’s innovative nature is not defined solely by her use of 3D-printing; her creative process is rarely dominated by the cutting-edge technology, which is never a source of inspiration. “For me, it’s a tool,” van Herpen said in the same interview with Schleuning. And 3D printing is only one of many construction techniques the Dutch designer employs, preferring to bring multiple perspectives and techniques to a problem or concept. Known for forging creative collaborations across a range of fields, van Herpen often works with scientists or technology experts

continued on page 24


graduating, she started her own label. In 2011, van Herpen made her haute couture debut in Paris with a collection called Capriole, or “playful leap,” an ode to her passion for skydiving.


ow did Phoenix Art Museum become a destination on the North American tour of Iris van Herpen: Transforming Fashion? According to Dennita Sewell, the Museum’s Jacquie Dorrance Curator of Fashion Design, it all began with Arizona Costume Institute (ACI) and a dress. To celebrate the 50th anniversary of the fashion design collection and the group, ACI donated the funds to purchase a dress from van Herpen’s 2014 collection Biopiracy, a piece they selected over a historical garment and a more contemporary one. “They were really excited about the Iris van Herpen piece,” Sewell said, recalling when she presented the ACI board with options. “When you’re celebrating a historical event, it’s easy to be nostalgic, but for them, the piece represented that they were moving forward and looking to the future.” Not only did the acquisition of the dress (shown above) allow the Museum to break through into the North American tour of Transforming Fashion, but the dress itself, which appeared in an issue of National Geographic, represents a breakthrough all its own. “This dress was the first one that had flexibility,” Sewell said. “It’s a breakthrough moment in technology for the materials to become fluid and to have movement.” Until that point, 3D-printing technology was capable of printing only static objects, so earlier van Herpen garments are fragile, Sewell explained. The dress purchased with funds donated by ACI, however, is made of TPU 92A-1, a thermoplastic polyurethane that exhibits strength, durability, and longevity, making it a good fit for the Museum’s fashion collection. The dress purchased with funds provided by ACI is featured in Iris van Herpen: Transforming Fashion. EXHIBITION


and combines the use of 3D printing with traditional handcraftsmanship to give life to her ideas. The result? Designs and garments that contemplate the relationship between fashion, science, technology, and the body in a provocative and revolutionary way.



ris van Herpen is hailed as a pioneer in utilizing 3D printing as a garment construction technique. We sat down with Andrew Noble, an MFA candidate at Arizona State University, to discuss some details of this cuttingedge technology. How is 3D printing used to create objects? 3D printing is additive manufacturing compared to traditional, or subtractive, manufacturing. In subtractive manufacturing, you carve away or eliminate material to create an object. In additive manufacturing, you place material and fuse several images or layers together digitally to build an object, creating physical, three-dimensional objects with computer-aided design. What are the benefits of 3D printing for artists? You can create intricate, detailed, clean, and precise prints to size. Cost and sustainable practices are also benefits. With subtractive manufacturing, you can waste up to 80% of material. With 3D printing, you place only the material you need where you need it. For me, it’s exciting to consider the potential recycle and reuse of these new additive materials. What are the limitations? Countering what I previously said, cost can also be a limitation. Materials can be expensive. Accessibility is another issue. It’s hard to access machines that can print fivefoot objects, or something innovative and surreal like Iris van Herpen’s human-sized dresses. Can you speculate on Iris van Herpen’s process? To my understanding, she and the 3D experts she works with use either “stereolithography” or “selective laser sintering” 3D-printing processes. Essentially, both processes use lasers to fuse or sinter together either microgranular particles or photoreactive resin into intricate designs. With this type of technology, you get a much more solid bind in the material, so her clothes can withstand maneuvering and impact. Looking at some of her designs, these dresses could be thousands of layers, each at maybe 0.05 millimeters high.



For the pioneering designer, inspiration instead comes from science, architecture, movement, and dance. Her fascination with scientific processes in particular is apparent when examining the concepts behind the collections represented in Transforming Fashion; the collection names alone, including Chemical Crows, Refinery Smoke, and Synesthesia, speak to the type of heady concepts that often inform van Herpen’s work. Other collections, by contrast, reflect on more tangible scientific processes, such as the transformation of water from liquid to solid form and the effect of electricity on the body. Sewell hopes visitors will take the time to read the short blurbs that appear throughout Transforming Fashion to learn about the theories and ideas that inspired the different collections. And according to the fashion curator, the meaning behind van Herpen’s work extends even beyond what’s written on the walls. Her collections are creative, artistic expressions addressing some of life’s most common—and controversial—questions. “We all wonder about who we are, why we’re here, and what the future is,” Sewell said. “Iris delves into those ideas in a very interesting way and poses questions that are relevant to our society and ourselves.” On the surface, the minimalistic yet stunning Transforming Fashion, which also includes fantastical shoe designs and runway footage, promises to amaze and surprise visitors with its dramatic silhouettes and unusual materials. But more than that, the exhibition exposes the Phoenix community to one of the world’s most innovative, imaginative, and deeply creative haute couture designers who is creating work that, in Sewell’s opinion, is “uniquely non-referential.” “If there’s anyone who’s influenced Iris, it might be Alexander McQueen, and you see that in the performative nature of her runway shows,” Sewell said. “But the work itself is coming from within Iris. I think she really is pioneering her own visual vocabulary.” Iris van Herpen: Transforming Fashion is co-organized by the High Museum of Art, Atlanta and the Groninger Museum, the Netherlands. The exhibition was curated by Sarah Schleuning, High Museum of Art, and Mark Wilson and Sue-an van der Zijpp, Groninger Museum. Its Phoenix premiere is made possible through the generosity of Arizona Costume Institute, Miriam and Yefim Sukhman, APS, Contemporary Forum, and UMB Foundation, with additional support provided by the Joan Cremin Exhibition Fund and Lloyd and Sharon Powell. image credits: (pages 20-21) Iris van Herpen, Refinery Smoke, Dress, July 2008.

Untreated woven metal gauze and cow leather. Groninger Museum. (page 22, left to right) Iris van Herpen, Hacking Infinity, Shoes, 2015. In collaboration with Noritaka Tatehana and 3D Systems. Laser-cut cow leather, 3-D printed photopolymer, and stereolithography resin. Collection of the designer. Photograph ©NORITAKA TATEHANA; Photo courtesy of: Jean Baptiste Mondino and Iris van Herpen. (page 23) Iris van Herpen, Biopiracy, Dress, March 2014. 3-D-printed thermoplastic polyurethane 92A-1 with silicon coating. In collaboration with Julia Koerner and Materialise. Collection of Phoenix Museum of Art, Gift of Arizona Costume Institute. (opposite page, clockwise from top left) Iris van Herpen, Hybrid Holism, Dress, July 2012. 3-D-printed UV-curable polymer. In collaboration with Julia Koerner and Materialise. High Museum of Art, purchase with support from the Friends of Iris van Herpen; Iris van Herpen, Magnetic Motion, Dress, September 2014. 3-D-printed transparent photopolymer and stereolithography resin. High Museum of Art, Purchase with funds from the Decorative Arts Acquisition Trust and through prior acquisitions; Iris van Herpen, Capriole, Ensemble, July 2011. In collaboration with Isaie Bloch and Materialise. 3-D-printed polyamide. Groninger Museum; Iris van Herpen, Hybrid Holism, Dress, July 2012. Metallic coated stripes, tulle, and cotton. Collection of the designer; Photos by Bart Oomes, No 6 Studios, unless otherwise noted.






Opening May 4 Norton Photography Gallery


THIRTEEN In 2012, photographer Betsy Schneider embarked on a project to explore the experience of being 13 in America. Traveling across the United States, the Guggenheim-grant recipient chronicled the lives of 250 13-year-olds, creating still portraits and video documentation of each. The resulting body of work, To Be Thirteen: Photographs and Videos by Betsy Schneider, presents a rich and nuanced portrait of a group of Americans whose lives began at the turn of the millennium and who are now just coming of age. continued on page 28 EXHIBITION


To Be Thirteen: Photographs and Videos by Betsy Schneider is organized by Phoenix Art Museum; INFOCUS, the photography support group of Phoenix Art Museum; and the Center for Creative Photography. image credits: (page 26, left to right, top to bottom): Madeleine, Tempe, AZ, 2011;

Cameron, Tucson, AZ, 2012; Eliot, Traverse City, MI, 2012; Sophia, Tempe, AZ, 2012; Destin, Tempe, AZ, 2012; Claude, Phoenix, AZ, 2012; Angel, Phoenix, AZ, 2012; Jasper, Phoenix, AZ, 2012; Mary Elizabeth, Tempe, AZ, 2012; Elena, Tempe, AZ, 2012; Jackson, Wellesley, MA, 2012; Hailey, Mesa, AZ, 2012. (page 27) Sebastien, Sharon, MA, 2012. (opposite page, top to bottom) Adele, Tempe, Arizona, 2011; Christopher, Glendale, AZ, 2012; Jack, Sharon, MA, 2012. All photographs by Betsy Schneider. Images courtesy of Tilt Gallery, Scottsdale, AZ.




he exhibition, premiering at Phoenix Art Museum on May 4, includes approximately 20 large photographic prints, a 60-minute film running continuously, and an archive where visitors can see pictures of each of the 13-year-olds, along with some of their statements. The portraits illustrate how differently the age of 13 can appear, and the subjects’ words heighten these disparities, demonstrating that each portrait represents a distinct experience. We spoke with Schneider to learn more about the intensely personal revelations that arose during her multiyear project and to better understand the experience of 13-year-olds today. What was the inspiration for this project, and why did you choose to focus on 13-year-olds? When my daughter started to get close to adolescence, I realized I was kind of terrified of being a parent of a teenager, and it came at me sideways. I was watching a play [staged by the Phoenix-based group] Mothers Who Write, and one of the pieces hit me in this weird way. This woman was a mom of a 12- or 13-year-old, and she was talking about how her daughter was mean to her. I thought, Oh God, this is kind of trite, but I was sobbing—it was such a weird split. That’s when I realized: I’m terrified of my daughter changing. So that started me thinking about how I could make art out of this. I had sort of been a fearless parent before then; I wasn’t one of those people who worried about my baby. The other component of this was my own adolescence. Sixth grade and seventh grade were the hardest years of my life. I was awkward and uncomfortable, and I found out through this project that I wasn’t alone. But at the time, of course, I felt like I was different. There’s something about [13]. If I had photographed all 12-yearolds, they would all pretty much look like 12-year-olds. But [at] 13, some of them looked 12, some of them looked 14, and it did turn out that 13 was this kind of container. Tell us what it was like working with so many 13-year-olds. What did they talk about while you took their pictures? There were, of course, a few who barely said anything, but there were 15 or 20 kids who just talked. We started filming, and some of those kids said things that were really revealing. I think they were happy to be listened to. There was one boy who was great. He had questions and wanted to talk about the project’s original title, Triskaidekaphobia [the fear of the number 13]. In one of his clips, he talks about how he just had his bar mitzvah. He explains the ceremony and then says at

the end you “become a man.” And the minute the word man comes out of his mouth, he realizes what he’s said and what it means. There were several of those instances where you could tell the kids were processing as they were talking. For the most part, we learn not to do that when we get older. So moments like that represented this crossroads, between being a kid who just says anything and it’s cute and funny, and then getting older and feeling like you have to monitor yourself more. Some of it was heartbreaking, particularly with the boys. Were there similarities between your experience as a 13-year-old and what your subjects were expressing about being that age? I think the thing I liked most about this project is that every kid seemed to feel like they were an outsider. I remember [that] so vividly at that age, where you just realize you’re singular and [your parents] can’t protect you from things anymore. For me, that feeling of rawness and vulnerability and difference is still in there. How has this project impacted you as a parent? The project gave me something to focus on, and as it turns out, the separation from my son has proven more emotionally difficult than the one from my daughter. He lived with his dad for two years in Norway, and that was the hardest thing I’ve ever had to do in my life. My heart was breaking for two years. Ironically, he was 12 when he left and he was 14 when he came back. He called me on his 13th birthday and said, “It’s my 13th birthday, Mom, and it’s so ironic that you’re not here.” I think this project put things on the table. We acknowledged that we knew transitions were happening. We’ve gone through it with our eyes open. For me, though, it’s been a lot of discovery about how I’m not infallible; I thought I was a different kind of mom who wasn’t going to feel that typical pain. I didn’t realize how right I was when I started crying during that performance. It’s caused me to think and connect with other people to think about what this stage of adulthood means. I think it’s really interesting—in a way I never thought it would be. What do you hope visitors take away from this exhibition? I make portraits and I love looking at people. I would hope that people think about how they feel about the pictures. I hope they discover the tension between the commonalities and the differences among the kids. For me, that’s the crux. I also really want people to go and say, “I remember being that age.” After all, there’s that part of each of us that’s still there. EXHIBITION


CIRCLES OF SUPPORT BENEFACTORS CIRCLE $50,000+ °Roberta Aidem *Jo and Bill Brandt Carol and *Larry Clemmensen Andrew and *Amy Cohn Lee and *Mike Cohn *Dr. and Mrs. Meryl Haber The *Diane and Bruce Halle Foundation *Mrs. Lee T. Hanley *Jon and Carrie Hulburd *Ellen and Howard C. Katz *Dr. Parvinder Jit Singh Khanuja and Parveen Kaur Khanuja *Mr. and Mrs. Joseph O. Lampe °Richard and *Sally Lehmann *David and Dawn Lenhardt *Rose and Harry Papp  *Mr. and Mrs. James S. Patterson, Jr. Pivotal Foundation, *Francis and Dionne Najafi *Sue and Bud Selig FOUNDERS CIRCLE $25,000+ Allison and Bob Bertrand *Matthew Boland and Christopher Greulich *Mr. and Mrs. Drew M. Brown *Denise and Bob Delgado The *Dorrance Family Foundation *Carter and Susan Emerson *Jane and Mal Jozoff *Margot and Dennis Knight Judy and *Alan Kosloff Del and *Sharron Lewis Janis and *Dennis Lyon *Ms. Ann Siner Charles and *Meredith von Arentschildt PRESIDENTS CIRCLE $10,000+ Anonymous (1) Jett and Julia Anderson *Ryan and Jody Backlund *Craig and Barbara Barrett Ginger and *Don Brandt *John and Bonnie Bouma Deborah G. Carstens *Amy Clague *Joan D. Cremin *Eileen Elliott and Frank Mauer *Mark and Diana Feldman °Erin and John Gogolak *Judy and Bill Goldberg *John and Kathleen Graham Heather and *Michael D. Greenbaum *Paul and Mary Beth Groves *Lila Harnett *Tim and Shannon Jones Randy and *Ken Kendrick Mark and Betsy Kogan Sam and *Judy Linhart



*Lori and Michael Massey *Garrett McKnight °Susan and Mark Mulzet *Blair and Lisa Portigal *Kim and Steve Robson *David Rousseau *Deanna Salazar and Randy Voigt Dawn and °Jay Schlott *Angela and Leonard Singer Pam and *Ray Slomski TRUSTEES CIRCLE $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 Cheryl J. Hintzen-Gaines and Ira J. Gaines Beverly N. Grossman Judith Hardes Jeanne and °Gary Herberger Peter Hernandez Ricki Dee and John Jennings Jones Wajahat Family Carol and Kenneth Kasses °Andrew B. and Wan Kyun Rha Kim Jan and Tom Lewis Vicki and Kent Logan Sheldon & Marianne Lubar Charitable Fund °Paul and Merle Marcus Diane and Larry McComber Pat and Keith McKennon Dr. and °Mrs. Hong-Kee Ong Donald and Judith Opatrny Matthew and Mary Palenica Doug Riley °Gail Rineberg Lois and John Rogers Barbara and Jeffrey G. Schlein Julie and Barry Smooke Nancy Swanson Patricia and Paul Taylor Mr. and Mrs. Jonathan Tratt Mrs. Betty Van Denburgh Gilbert Waldman and Christy Vezolles °Mr. and Mrs. Louis A. Weil III CONNOISSEURS CIRCLE $2,500+ Anonymous (1) Kathi Belfer Cypres Joan Benjamin and Larry Cherkis James T. Bialac Christen Castellano Marc and Mary Ann Cavness Mr. and Mrs. Tom Chauncey, II 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 George and Ann Fisher Kenneth and Janet Glaser Dean and Taylor Griffin Kevin and Terri Healy Ms. Mary Beth Herbert and Mr. Cecil Penn Doris and Martin Hoffman Family Foundation Dr. Bill Howard and Iris Wigal °Dr. Eric Jungermann 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 Susan and Philip W. Matos Sandra Matteucci Michael and Jane Murray Fred and Linda Nachman Stuart and Carol Nierenberg Carol Orloski Robert and Myra Page John J. Pappas Saltlick Family Trust John and Claudia Schauerman Jacqueline Schenkein and Michael Schwimmer Mary and Stanley Seidler  Charles and Rowena Simberg  Iris and °Adam Singer Mr. and Mrs. Robert Smalley Jr. Joan and Roger Strand Barbara and Jim Sturdivant Sean Sweat Edie Taylor and Christopher Price Mr. and Mrs. Anthony M. Turchi °Mr. and Mrs. William G. Way William C. Weese, M.D. Gay F. Wray DIRECTORS CIRCLE $1,500+ Anonymous (6) 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 Benny and Janet Alon Megan and John Anderson  Ellen Andres-Schneider and Ralph Andres  °Judson C. and Nancy Sue Ball Linda and John Barkman °Carol Barmore °Alice and Jim Bazlen Uta Monique Behrens David and Susan Berman Neil Berman °Regina and °Peter Bidstrup/The Bidstrup Foundation

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 Ross and Pam Buchmueller  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 Judge and Mrs. Earl H. Carroll Katherine and Charles Case Iris and Spencer Cashdan Maureen and John Chestnut Anne and Fred Christensen Michael and Kathleen Christodolou 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 Gary Egan and Daniel Holterman Judith and John Ellerman  Stella and Gil Exler Maureen and Tom Eye  Mr. and Mrs. Robert Farrer Dale and Mary Fedewa  Matthew and Michele Feeney Richard and Suzanne Felker Harve A. Ferrill  Noel and Anne Fidel Cheryl and Jeffrey Fine 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 °Mrs. Donald F. Froeb Allison Gee Dyan and George Getz Paul Giancola and Carrie Lynn Richardson Elton Gilbert  Angela and Jeffrey Glosser  Sara and Marvin Goldberg

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 January 1, 2017, and January 31, 2018.

Corporate Council members will be listed once annually.

Dr. David and Joan M. Goldfarb °Richard and Susan Goldsmith Charles Goldstein Judy Gordon Peter and Wendy Gordon  Sara and Arthur Gordon Victoria and Rod Granberry 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. John and Sally Gushee 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 Judy and Stuart Heller Maxine Henig Linda Herman Paul and Yinglu Hermanson Lori and Howard Hirsch  Lynda and Arthur Horlick  Mimi and David Horwitz  Christine Hughes Betty Hum Andrew Hurwich Nancy Husband Linda and Albert Jacobs William and Kimberly Jacobsen Jeff and Sarah Joerres Curtlin and Rachel Johnson, Esq. Gigi Jordan and Bob Patterson Lynn and Larry Kahn Donald Karner and Kathryn Forbes Ruth R. Kaspar Draga S. Kellick Kathy and Fred Kenny David and Susan Kessler Eleanor and Bruce Knappenberger Carolyn Refsnes Kniazzeh John A. Knight Ravi and Sherry Koopot James and Ina Kort Susan Kovarik and Brian Schneider Judy Krolikowski Jan Krulick-Belin °Carolyn R. Laflin James and Debra Larson Marilyn 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  °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 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 Lynda Martin and Joe Squatrito Martha Martin Mim J. McClennen Carol and °Howard McCrady Tammy McLeod Richard T. 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 Dawn and Michael Olsen 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 Conrad Prusak Mrs. Maritom K. Pyron Cathy and Tom Reahard Donna Reining Mr. and Mrs. Richard Reitman Betsy Retchin  Ida Rhea  Sunnie Richer and Roger Brooks  Nancy Riegel Donn and Patricia Roberts Stephen and Constance Robin Thomas Rogers Stephena C. Romanoff Barry and Elizabeth Rosensteel Merle and Steve Rosskam  Diane Roush 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 Laurie and Matt Scott Arlene and Morton Scult John and Patricia Seybolt Paula and Arlie Sherman Diane L. Silver and James R. Condo Diane and Jay Simons °Diana E. and Paul B. Smith Donald and Dorothea Smith Lynne Smith °Charles and Marron Snead Mr. and Mrs. Richard Snell Beth Cummings Solem Woody and Nancy Spivey Bud and Judy Stanley Lou and Larry Stein Barbara Steiner Jeffrey Steinfeldt and Kristy Bonn Mr. and Mrs. Richard D. Stern John and Ellen Stiteler °Betsy and Bruce Stodola Donna Stone Margaret Stone and Jonathan Dee Miesha Stoute Paula and Jack Strickstein Rick and Lynda Strusiner °Betty Lou Summers Mrs. Janice Tekofsky Gail and Dan Tenn Anne and Steve Thomas Kathy and Fritz 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 Janis S. and Paul F. Walsh Patricia Ann Walsh Megan Walsh-Simpson Judith Blass Washor Annie Waters and Bob Ryan Gerald Weiner Trudy and Steven Wiesenberger Mildred B. Williams Gretchen and Dick Wilson  Ronald G. Wilson and Bonnie Naegle-Wilson Dr. Judith G. Wolf Paul and Katherine Wolfehagen Amy Wood Stephen and Robin Woodworth Ruth Worden Delwyn and Diana Worthington Pat and Barry Yellen °Judy Zuber

 Arizona Five Arts Circle * Current Trustee ° Past Trustee


The 21st Century Society recognizes those who have ensured the Museum’s future by making a testamentary provision or other planned gift naming Phoenix Art Museum as a beneficiary of a gift of $5,000 or greater.

Anonymous (5) Sara and °Alvan Adams Annie Allen Milena and °Tony Astorga Linda and James K. Ballinger Dr. and Mrs. John A Bamberl °Peter and Pari Banko °Alice and Jim Bazlen Uta Monique Behrens Viola F. Bernstein Ben Bethel Maria Ramos Martinez Bolster Oonagh and °John Boppart *John and Bonnie Bouma Linda Breuer LaVerne Beall Burhans Joe Bushong Iris Cashdan-Fishman Marc and Mary Ann Cavness Mr. Sandy Chamberlain and Dr. David Kest Jae and Diann Christensen Chad Christian *Amy S. Clague Elaine W. and Sidney A. Cohen °George and Mandy Cohen Pat and Gary Cohen Lee and *Mike Cohn Mr. and Mrs. °Jerry Colangelo °Charles Coronella Harry R. Courtright °Bruce Covill and Lucia Renshaw *Joan D. Cremin Dorothy and Herold Crume °Joseph and Kathy D’Amico *Denise and Robert Delgado °A. J. Fleet Dickey Marnie Dietrich Gary J. Egan and Daniel A. Holterman Murray and Cecile Epstein *Mark and Diana Feldman Sharon and Victor Figarelli Kate Forbes Sharyn and Stuart Frankel Cheryl Hintzen-Gaines and Ira Gaines Mr. and Mrs. William Gardner Dr. Paul and Amy Gause °Richard and Susan Goldsmith Heather and *Michael Greenbaum Pamela Grieco *Paul and Mary Beth Groves Stephen and Marcia Guerrant Rose O. Gustafson *Meryl H. Haber *Mrs. Diane Cummings Halle *Mrs. Lee T. Hanley Terrence M. Hanson *Lila Harnett Myrna Harrison continued on page 32 SUPPORT


Independent Woman Luncheon On January 30, Phoenix Art Museum hosted the eighth annual Independent Woman Luncheon, featuring Amy Lau. With nearly 600 guests in attendance and more than 60 participating designers, it was the largest IWL to date. Thank you to all who participated and a special thanks to our wonderful sponsors.



David E. Adler Fine Rugs bulthaup Scottsdale The Diane & Bruce Halle Foundation Jacquie & Bennett Dorrance

Kravet Ardy’s Custom Workshop Luxe Magazine Fully Loaded



Main Dish Desert Star Construction

1stdibs CAMBRIA Emser Tile

21ST CENTURY SOCIETY (continued) Mary Heiss and Harold Dorenbecher Lynette Heller Mary Beth Herbert Dr. Bill Howard Mr. and Mrs. Kenneth Husband Ray and Dee Isham Mr. and Mrs. Henry E. (Hank) Johnson Stanford S. Johnson Nathan Joseph *Jane and Mal Jozoff °Dr. Eric Jungermann Karen Justice Don Karner Ruth R. Kaspar *Ellen Katz Mohammad and Vernita Khosti Dottie Kobik Dr. and Mrs. Ravi Koopot Mrs. Joseph O. Lampe Thomas and Julianne LaPorte *Sally Lehmann Tochia and Stan Levine *Sharron Lewis Linda Ligon Dr. Dorothy Lincoln-Smith and Dr. Harvey Smith *Judy and Sam Linhart °James and Dr. Michele Lundy Janis and *Dennis Lyon James and Dhira Mahoney Jeffrey Manley



°Paul and Merle Marcus Mrs. Jinx McCreary Glenda and Eugene Miller Dr. Herbert and Susan Miller Roy and Mary Miller °John H. Morrell Mr. and Mrs. Edward Moses °Susan and Mark Mulzet °Steve and Dr. Kristen Nelson Robert and Mary Newstead The Nieto Family °Patricia and Richard Nolan June Olson Sherry and Henry Orth Harry and *Rose Papp *Jim and Anita Patterson Cecil W. Penn Mr. and Mrs. Manuel A. Perez Linda Peshkin Mr. and Mrs. John Phelps Kelly Puziss Don L. Randolph Karen Randolph Donna and Jonathan Reining °Gail Rineberg Mr. and Mrs. Lew Robinson Mr. and Mrs. Robert P. Robinson Valerie J. Rosenthal Mary Ell Ruffner Elaine and Timothy Ryan C. Angus Schaal

Miriam Schaeuble Dawn and °Jay Schlott Steve and Anita Schultz Barbara D. Shear Melanie D. and Richard I. Shear Mrs. Robert Shoenhair Rowena Simberg Iris and °Adam Singer *Angela and Leonard Singer Pamela and *Ray Slomski Dr. Jerry N. Smith and Vickie Hamilton-Smith Helen Spacek Becky Curtis Stevens Patricia Stillman Roxie Stouffer Joan and Roger Strand Paula Strickstein °Betty Lou Summers V.T. and Vicky Tarulis Allyson J. Teply George Thiewes French Thompson Diane and °Gary Tooker Betty W. Van Denburgh Earl H. Van Fossen Irene H. Vasquez and Mildred B. Williams Abram C. Villegas Charles and *Meredith von Arentschildt James von Germeten Joan von Germeten Ms. Susan von Hellens

Carol Waldrop °William G. and Mary Way °Louis A. and Daryl G. Weil Gerald Weiner Steve and Ann Wheeler Carol D. Whiteman Ronald Wilson and Bonnie Naegle-Wilson Georgia Ray and R. Stephen Wolfe Robin and Stephen Woodworth °Mares Jan Wright °Judy and Sidney Zuber, M.D.

LET US THANK YOU If you have already included Phoenix Art Museum in your estate plans, please let us know. We would love an opportunity to thank you for your generosity, to make sure the purpose of your gift is fully understood and will be appropriately allocated, and to recognize you as a member of our 21st Century Society so that you can begin to enjoy those benefits immediately. Contact Rossi Todorova, Major and Planned Giving Officer, at 602.257.2169 or


Why We Give

Through the generous support of APS, veterans, active-duty military personnel, and their families enjoy free Museum admission


or more than two decades, Arizona Public Service (APS) has been a devoted supporter of Phoenix Art Museum. From exhibitions to educational programs and serving as a volunteer leader on the Museum’s Board of Trustees, APS has served as a model for corporate generosity, demonstrating how community partners can help improve access to the arts for all people. “At APS, we understand the value of art to our community. Robust arts and culture opportunities help drive economic development and greatly improve the quality of life for our employees, and for the people we serve,” said Jeff Guldner, Executive Vice President, Public Policy and General Counsel, at APS. That commitment to improving the quality of life and access to arts and culture for the Valley communities that APS serves has now grown to focus on veterans. Since November 1, 2017, APS has been the proud sponsor of the Military Access Program at Phoenix Art Museum, colloquially known as MAP@PAM. Through their generosity, APS honors the service of veterans and active-duty personnel from all branches of the U.S. military with free Museum admission through November 1, 2018. The MAP@ PAM program also provides free admission for military spouses and all children under 18. “We are profoundly grateful for the compassionate generosity of APS. The commitment of APS to enriching the lives of those in its community has enabled Phoenix Art Museum to provide unlimited, free access to military families, which is truly meaningful to all of us at the Museum,” said Amada Cruz, the Museum’s Sybil Harrington Director and CEO. “We are pleased to be able to show our appreciation for veterans and active-duty military personnel who give so fully of themselves on behalf of our nation, and for their families who bear the weighty burden through their support and sacrifice.” “The Museum’s focus on arts education and its dedication to accessibility have made a deeply positive impact on our diverse community,” Guldner added. “[MAP@PAM] is a good example, where we’re making the Museum available to a really diverse population.” Arizona ranks among the top 15 states with the highest concentration of veterans; more than 520,000 veterans call Arizona home, with the largest portion of the veteran population living in Maricopa County. More than 18,000 active-duty service members live in Arizona, with nearly 15,000 reservists. The generosity of APS to provide free access to the exhibitions, educational programs, and experiences within the Museum will help to enrich the quality of life for families of all ages and backgrounds within these diverse groups. For Guldner, that’s at the heart of the relationship between APS and the Museum. “We are proud to support Phoenix Art Museum as a cutting-edge institution that is leading the

Jeff Guldner

executive vice president, public policy and general counsel, APS way for other arts organizations, both locally and nationally,” said Guldner. “The Museum’s focus on arts education and its dedication to accessibility have made a deeply positive impact on our community. One of our major roles is to just continue to empower the Museum in its work.” “We love Arizona. In the summertime, when it’s 100+ degrees out, knowing that we made it possible for families to have access to rich diversity and culture, that’s when I am motivated to say, ‘Yes. I know this is worth it.’” The Military Access Program at Phoenix Art Museum, which was first established in 2016, provides free admission to veterans and active-duty military families. From November 2017 through November 2018, the Military Access Program at Phoenix Art Museum is made possible through the generosity of APS. WHY WE GIVE


Recent Acquisitions



his winter, Phoenix Art Museum acquired Deer in the Forest, painted in 1914 by earlyAmerican modernist Marguerite Zorach. The painting is the Museum’s first work purchased using funds provided by the James K. Ballinger American Art and Education Fund, established in honor of the director emeritus to strengthen the Museum’s collection of American art made before 1950. Marguerite Zorach (née Thompson) was born in Santa Rosa, California, and raised in Fresno. In 1908, she left Stanford University for Paris, where she studied art and lived with an aunt who knew Gertrude Stein and belonged to the avant-garde art community. Zorach arrived in Paris just in time for the Salon d’Automne, where she was amazed by the bold compositions of Postimpressionist and Fauvist painters, including Henri Matisse. She quickly adopted the Fauves’ vivid colors and painterly techniques. In 1912, she married fellow artist William Zorach, and they settled in Greenwich Village, New York’s center of avant-garde activity. Zorach continued to paint throughout her life and expanded her practice into embroidery and textile art. Deer in the Forest is a significant contribution to the Museum’s American art collection. The painting exemplifies how quickly and wholeheartedly Zorach embraced the latest European styles. “Few Americans painted in such a strongly Fauvist style as did Zorach,” said Betsy Fahlman, the Museum’s adjunct curator of American art. The work’s intense colors and dynamic composition put the artist firmly at the forefront of American modernism.

Marguerite Zorach, Deer in the Forest, 1914. Gouache on paperboard. Purchased with funds from the James K. Ballinger American Art and Education Fund.



Deer in the Forest will be on view beginning fall 2018. It joins the Museum’s other holdings of American women modernists, including works by Georgia O’Keeffe, Blanche Lazzell, Aline Meyer Liebman, Alice Trumbull Mason, Florine Stettheimer, Helen Torr, and Agnes Pelton.



| Joseph Lampe

oseph O. Lampe, longtime Trustee of Phoenix Art Museum and generous donor, passed away on January 25. Joe and his wife, Shawn, supported the Museum for many years, helping to grow its collection and exhibition of Latin American art through their profound generosity. Joe was born not far from Syracuse University. He grew up going to football games with his father and, through that family tradition, knew he wanted to attend Syracuse from a very early age. Joe would realize his goal when he attended Syracuse as an undergrad studying speech and dramatic arts, graduating in 1953. He would continue on at Syracuse to complete his education in law, earning his JD in 1955, when he was called to active duty in the Air Force. His military service first brought him to Arizona when he was stationed at Luke Air Force Base. In the early 1980s, Joe returned to Arizona, where he continued his real estate development business and enjoyed tremendous success in his adopted home city. Throughout his life, Joe remained devoted to passionately supporting and serving the institutions he loved. He served as a former chairman of the Board of Trustees of Syracuse University, and upon concluding his service, he was honored as the Board’s first chairman emeritus. With an appreciation for the arts that began at an early age, Joe was determined that

people of all ages and backgrounds should have access to rich cultural experiences, and he placed a high value on arts and arts education. Through his generosity and volunteer leadership, he helped to create access to arts education for all students; at Syracuse, he helped to establish an endowment to benefit students of all backgrounds who wished to study visual and performing arts, among other significant support. His love for the arts led him to a lasting relationship with Phoenix Art Museum. Joe served as a Trustee of the Museum for more than a decade, and he also helped to create a greater awareness and appreciation of Latin American culture and art, which included the endowment of the Shawn and Joe Lampe Curator of Latin American Art, a position now held by Vanessa Davidson, PhD. Throughout his long life, Joe exemplified what it means to be a leader. But the hallmarks of his leadership were much more than his peerless commitment to his community. Joe modeled wholehearted empathy, embodied in his characteristic warmth, thoughtful nature, inspired generosity, and perhaps, most of all, his unfailing kindness. Joe will be remembered for his wide, contagious smile and a gentleness of manner that can only come from the satisfaction of a life lived in service to the highest principles of ethical and compassionate leadership.

Photo of Joe Lampe taken by Joseph Lawton for SU Magazine in 2003.



MUSEUM NEWS Tomås Johnson has joined the Museum as a development assistant. Previously, Johnson served as house manager at the Scottsdale Center for the Performing Arts. He earned a BA in theater arts from Santa Clara University. Nikki deLeon Martin has been promoted from director of marketing and communications to director of external affairs, where she will oversee the marketing and audience development, public relations and communications, creative services, visitor services, and membership departments. deLeon Martin joined the Museum in 2012 as public relations manager and editor of PhxArt Magazine. Previously, she served as a communications consultant and marketing executive in higher education. She earned a BA in English from Arizona State University. Dorothee Nygren has joined the Museum as the support group assistant. Previously, Nygren served as office administrator at the Greater Phoenix Economic Council. She earned a BA in art and design – art and culture from Iowa State University. Justine Silving has been promoted from gallery attendant to accounting assistant. Previously, Silving served as art collection database project manager at The Melikian Collection. She earned a BA in art studies from Barrett, The Honors College, at Arizona State University. Sara Simmons has joined the Museum as an events coordinator. Previously, Simmons served as catering sales coordinator and REN meeting expert at Renaissance Phoenix Downtown Hotel.


Elisa Arenas Ngocan Bui Matthew Dieckman Sam Schultz Keith Weber Carter Youngman




$135 (member) | $150 (non-member) Textile designer Nawal Gebreel manipulates fabric to create unexpected effects with color, shape, and texture. This luxurious scarf falls around the wearer’s neck in a sculptural, spiral form. HANDMADE IN ENGLAND. 100% POLYESTER.


LOOK BOOK IRIS VAN HERPEN: TRANSFORMING FASHION $58.50 (member) | $65 (non-member) A must-have for fans of the exhibition, this official catalog documents the evolution of New Couture through stunning photographs and an illuminating interview with the designer herself.

$17.06 (member) | $18.95 (non-member) What’s the idea behind a suit made entirely of paper? Explore avant-garde fashion from the past century by designers such as Vivienne Westwood, Alexander McQueen, and Jean Paul Gaultier. BY MARNIE FOGG. PRESTEL (2014). 224 PAGES.



$180 (member) | $200 (non-member) Contemporary Italian jewelry label Materia Design creates bold pieces by using unexpected materials in innovative ways. This dramatic necklace can be worn long for impact, or doubled up for a layered look. GALVANIZED BRASS WITH MAGNETIC CLOSURE. 40” LONG.


starting at $85.50 (member) | $95 (non-member)

Jewelry designer Maria Eife combines traditional craftsmanship with cutting-edge technologies like 3D printing and computer-aided design programs. The result? Bold, playful elegance. NYLON. MADE IN THE UNITED STATES.

Update your closet (and bookshelf) to incorporate the latest innovations in the world of style. THE MUSEUM STORE


From the Collection



n the Fashion Special Collection of Phoenix Art Museum’s Lemon Art Research Library lives the first issue of Harper’s Bazaar, America’s original fashion magazine. Head librarian Patricia Peregrine and Brian Jennings, curatorial assistant of fashion design, reflect on the collection and the importance of this inaugural issue. Tell us a little about what makes the Lemon Art Research Library and the Fashion Special Collection unique. Peregrine: We are an art research library attached to a museum, which is rare. Additionally, Phoenix Art Museum is one of only a few museums with a dedicated fashion gallery, and our Object Title: Harper’s Bazar* library is one of a Vol. 1, Issue 1 handful of museum Publisher: Harper & Brothers libraries with a Publication Date: November 2, 1867 fashion collection. Donor: Kelly Ellman The Fashion Special Collection is a very bright star—we are the place to go to in the Southwest for printed materials about fashion, and the library and the fashion collection have always been an integral part of who we are. We have hundreds and hundreds of periodicals in the collection. Which publications or issues stand out for you? Peregrine: We have the first Vogue from 1892, but I would say Harper’s Bazaar is really the plum. We have hundreds of copies of Bazaar, from the first issue on, and Kelly Ellman is responsible for creating that unique collection. In early 2007, she started collecting issues of Bazaar for the library and collaborating with Dennita Sewell, the Jacquie Dorrance Curator of Fashion Design, and Sandra Wiles, the head librarian at the time. She has found, purchased, and donated all of the Harper’s Bazaar issues from 1867 to 1948 in our collection, and she continues to acquire missing issues when they become available for purchase. The process of collecting the Harper’s Bazaar periodicals has been a true collaboration between a donor, a curator, and various librarians. Many might assume the first issue of Vogue is more significant. What’s the importance of Harper’s Bazaar and its inaugural issue? Jennings: Bazaar was the first publicly circulated American fashion magazine. Most people think Vogue is the original, but Vogue came 25 years later. To have the paper copy of the first issue of Harper’s Bazaar, not the microfiche or a digital copy, is pretty special, as it means we have the first American fashion magazine, period. And to have so many issues of Bazaar, especially in paper, is unusual. Why is a collection of fashion magazines valuable? Jennings: You can learn a lot about what people thought was attractive or important from fashion magazines. For example, this is from 1867, and the dresses are already getting thinner, with women losing



their hoop skirts. And it’s not just the clothes—it’s the hairstyles, the shoes, the accessories. Over the issues, you can see how style evolves. Peregrine: And it’s also so much more than fashion—it’s society, culture, and history. What’s on the horizon for the Fashion Special Collection? Peregrine: Right now our cataloging is very limited. I’m hoping to improve our technology and archiving capabilities so the public, especially scholars, can search and have access to this type of material. A graduate or doctoral student could craft an entire thesis around these types of periodicals, particularly Harper’s Bazaar. * In 1929, Editor Charles Hanson Towne changed the spelling to “Bazaar” to reflect the word’s preferred English spelling.



Hank Aaron and Bud Selig along with Guest Emcee Mike Wilbon

Friday, March 16, 2018 11 am – 1:30 pm

This spring, Phoenix Art Museum welcomes a powerhouse lineup to its 2018 Luncheon of Legends. Emceed by ESPN’s Mike Wilbon, this year’s event will feature baseball Hall-of-Famer and living legend Hank Aaron and Commissioner Emeritus of Major League Baseball Bud Selig, promising a once-in-a-lifetime opportunity to hear a candid conversation between friends and two of baseball’s most recognized names, all while supporting exhibitions and arts education programming at Phoenix Art Museum. Luncheon of Legends, previously known as Luncheon of Champions, brings together sports and art enthusiasts for one afternoon a year to hear from sports legends about their unique experiences and insights into what it takes to be a champion. All proceeds benefit exhibitions and educational programs at Phoenix Art Museum. Tickets include free entry into the Museum’s special exhibitions.

TICKETS | $300 individual tickets All proceeds benefit educational programs and exhibitions at Phoenix Art Museum.

Visit to purchase tickets. For questions or event sponsorship details, please contact Hank Aaron, 1954, Topps. Image from The Diamondbacks Collection, amassed by Ken Kendrick, longtime collector and managing general partner of the Arizona Diamondbacks.


Nonprofit Organization US Postage Paid Phoenix AZ Permit Number 402 Phoenix Art Museum 1625 North Central Avenue Phoenix, Arizona 85004-1685

Upcoming Exhibition

OPENING FALL 2018 Explore the art, everyday life, and religion of Teotihuacan, the ancient Mesoamerican city that was the first and most influential metropolis on the American continent, through nearly 200 archaeological objects from collections in Mexico and the United States.

image credit: Eccentric, 200–250. Obsidian. Zona de

Monumentos Arqueológicos de Teotihuacán / INAH [Acervo], 10-615741. Photograph by Jorge Pérez de Lara Elías, © INAH.

Phoenix Art Museum Magazine - S/S 2018  
Phoenix Art Museum Magazine - S/S 2018