Issuu

FALL 2025

grand opening global icons, local spotlight yoshida chizuko

2 4

FROM THE DIRECTOR

PAM CUT A Multimedia Feast at the Tomorrow Theater

MUSEUM GRAND OPENING

Whitsell Auditorium Reopening Sustainability Labs / Summer Camps

EXHIBITIONS & INSTALLATIONS David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation

MEMBERS & PATRONS Rental Sales Gallery / PAM Venues

Yoshida Chizuko Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer The Stars We Do Not See: Australian Indigenous Art Learning Guides & Look With Me

PORTAL, VOL. 14, ISSUE 2

Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-276-4249. For general information call 503-226-2811. The mission of the Portland Art Museum is to engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations. The Portland Art Museum recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah, and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence. TOP: David Hockney, Joe with Green Window, 1979, Lithograph. © David Hockney / Tyler Graphics Ltd; MIDDLE: Yoshida Chizuko (Japanese, 1924–2017), Valley of Butterflies, 1979, photoetching and color woodblock print on paper, Courtesy Estate of Yoshida Chizuko. © Yoshida Chizuko; BOTTOM: Installation view of Global Icons, Local Spotlight with Marie Watt’s Skywalker/Skyscraper (Abuela, Cobija, San Marcos) (2022) in the foreground and Jeffrey Gibson’s YOUR LOVE WILL BRING ME HOME (2023) in the background. Photo by Aaron Wessling.

FROM THE DIRECTOR I write this with a heart full of gratitude, excitement, and a tinge of sadness. In the coming days, the Portland Art Museum will celebrate with all of you and with the public a completely transformed museum. I believe you will find it truly beautiful. Designed in partnership by Portland’s Hennebery Eddy Architects and Chicagobased Vinci Hamp Architects, the $116 million project is one of the most significant capital investments in the arts in the history of Oregon. At the center is the new Mark Rothko Pavilion, providing a welcoming new entrance and elegantly connecting the Museum’s two historic buildings and gallery spaces. After more than a decade planning for this project and nearly two years of construction, I am awestruck each time I walk through. The Pavilion’s transparent façade frames and reflects views of Portland’s cityscape and park blocks. From the outside, the glass structure invites passersby to encounter and engage with the art and creative spaces within. Inside,

PORTLAND ART MUSEUM

the entire campus invites visitors to make meaningful connections with art and with each other. Over the past few months, the Museum’s team has been hard at work on the reinstallation of our broad collection, which includes Northwest art, Native American art, Asian art, American and European art, modern and contemporary art, prints and drawings, photography, as well as new media and film. A distinguishing feature of our collection is a strong sense of place, with art

that reflects the regional landscape and people. I’m impressed by the way our newly connected spaces and galleries enable a conversation between artistic periods, media and expression. In the past two decades, we have intentionally diversified our collection, adding works by historically underrepresented artists, with an emphasis on acquiring works by women, Native American and Black artists, as well as other artists of color. The expanded public and gallery spaces now allow us to display more of

those holdings, including the new Black Art and Experiences Gallery, dedicated to showcasing artworks and performances by local, regional, and global Black artists. Visitors will also appreciate a host of new amenities, including new restrooms, new elevators, and, yes, more chairs. I invite you to enjoy the new Shop at PAM and Coquelico, the new cafe created by our local partner Providore Fine Foods. Both are easily accessible from the Museum’s new West Plaza. All of this has been made possible by you. To date, our fundraising campaign has secured more than $144.5 million for the building project and endowment, 98% of which is privately funded by more than 1,200 individuals. Thank you for being so generous with your support. Thank you for investing in your Museum and for the benefit of generations to come.

I also thank you for the trust you’ve placed in me to lead the Museum for nearly 20 years. Effective December 1, I will become the new director at the Dallas Museum of Art. I’m looking forward to a new challenge, but have already shed a few tears as I think about leaving Portland and all of you. I’m so fortunate to have been a part of this special place. With sincere gratitude,

Brian Ferriso Arlene & Harold Schnitzer Director

TOP LEFT: Director Brian Ferriso and Amy Pellegrin (at right) with Christopher Rothko and Lori Cohen in the newly completed Mark Rothko Pavilion, August 2025; TOP RIGHT: Brian Ferriso with esperanza spalding (left) and Poison Waters at the Portland Art Museum’s 125th anniversary gala, December 2017; BOTTOM LEFT: Brian Ferriso prepares to deliver remarks at the topping-out ceremony marking the completion of the Rothko Pavilion’s steel structure, July 2024; BOTTOM RIGHT: Mortenson construction superintendent Micheal Manos with Brian Ferriso at the topping-out ceremony as the final steel beam is lifted into place.

THE CONNECTION CAMPAIGN Building the Future of Art Together There are moments when a community comes together to decide what kind of future it wants to build. For the Portland Art Museum, this was one of those moments.

Warren, and Andree Stevens. Their vision and belief in the Museum’s mission set the course for what would become a defining chapter in its history.

Through the generosity and belief of more than 1,200 donors, the Museum has completed the most ambitious fundraising effort for arts and culture in Oregon’s history. The Connection Campaign, launched to expand and transform the Museum’s campus while strengthening its endowment, has raised an extraordinary $144.5 million—reshaping the institution for generations to come.

Led by Campaign Cabinet Co-Chairs Alix Meier Goodman and Angela Snow, the campaign inspired a record 49 seven-figure gifts, paving the way for broad community support. Angela, Alix, and the entire Campaign Cabinet served as tireless ambassadors every step of the way—advocating for the vision, strengthening community ties, and inspiring generosity. We recognize and deeply appreciate their unwavering leadership and commitment.

The campaign’s story began in 2013 with early gifts of confidence from Arlene Schnitzer, Nani

PORTLAND ART MUSEUM

Connection Campaign Co-Chairs Alix Meier Goodman and Angela Snow with Brian Ferriso, Arlene & Harold Schnitzer Director

Even as the global pandemic forced our doors closed to the public, it did not halt our momentum. Fundraising for the campaign continued with determination and resilience. A defining moment came in 2022, when Mary and Tim Boyle issued a challenge grant that helped the campaign reach new heights, inspiring widespread engagement and record contributions.

Jubitz, whose generosity brought the $116 million capital effort to a successful close. Their gift—and the collective commitment of so many others—stands as a testament to Portland’s enduring belief in the power of art to connect and uplift. Nearly 98 percent of those funds came from private support, a powerful reminder that this achievement belongs to the community that built it.

Additional challenge grants from Darci and Charlie Swindells, Barbara and Phil Silver, and the Ed Cauduro Fund of Oregon Community Foundation inspired gifts from members and the community alike. The community phase of the campaign rallied widespread support and celebrated the generosity of Portlanders.

Today, the impact of the Connection Campaign is all around us: in the light-filled Mark Rothko Pavilion, in expanded gallery spaces that welcome more voices, and in educational programs that reach deeper into the community. The Museum’s transformation is not only architectural—it is human. It reflects a shared conviction that art should be accessible to everyone.

The campaign’s capital goal was completed thanks to the leadership of Gail and Fred

The Portland Art Museum extends its deepest gratitude to every donor, member, volunteer, and staff member who made this historic achievement possible.

PORTLAND ART MUSEUM

As we close this chapter of the Connection Campaign, we do so with deep gratitude for the extraordinary community that brought this vision to life. What began as a bold idea became, through shared effort and belief, a work of collective imagination—a reminder of what is possible when generosity and purpose move in the same direction. We are profoundly thankful to our lead donors, whose extraordinary gifts laid the foundation for this success. Their conviction inspired others to give and to believe in the Museum’s enduring power to connect people and communities through art. We are equally grateful to the Campaign Cabinet, the Board of Trustees led by Chair Cyndy Maletis, and to the Museum’s staff—every department, every colleague who helped bring this transformation into being. And to the Development team, whose quiet persistence and care carried the work day after day. To donors who contributed at every level: thank you. Whether through a single gift, a multi-year pledge, or a planned commitment, your support has shaped something lasting for generations to come. In the pages that follow, we are honored to recognize those who contributed $5,000 or more to the Connection Campaign. No single list can capture the depth of our gratitude, but it can remind us—as all good art does—that meaning is made together. Thank you for helping us build a stronger, more connected, and more luminous future for the Portland Art Museum and the communities we serve.

Karie Burch Chief Development Officer

PORTLAND ART MUSEUM

MARY AND TIM BOYLE Mary and Tim Boyle’s transformational gift to the Portland Art Museum’s Connection Campaign came at a defining moment— when vision needed momentum and belief required action. Their early leadership support, structured as a matching gift challenge, served as a critical catalyst that propelled the campaign forward, inspiring others to step up and making it possible for the Museum to reach this moment. In recognition of their extraordinary generosity, the Museum has named the Tim and Mary Boyle West Plaza in their honor as a lasting tribute to their impact on this campaign and the broader cultural landscape of Portland. Mary Boyle, a dedicated Trustee of the Museum, is a force—not only within the

Museum’s walls, but throughout the city’s arts and nonprofit sectors and beyond. In 2022 she was appointed to the President’s Advisory Committee on the Arts, acting as a national ambassador for the transformative power of the arts. Her commitment to civic leadership and cultural vibrancy has shaped Portland’s creative future in visible and lasting ways. She and Tim share a deep belief in supporting institutions that build community and inspire connection. “Art brings joy to you, and it also has the power to make you question things and explore things,” says Mary. Their commitment to the Museum’s mission naturally led to their pivotal matching gift challenge for the Connection Campaign in 2022. “It was time to make a difference,” says

Mary. “We were coming out of the pandemic, and so we needed to have something to inspire people and have a wonderful place to enjoy beauty downtown.” “Enjoying the museum means that you need to be present with the art,” agrees Tim. “There’s no substitute for art the way you experience it at the museum. We’re thrilled to be a part of making it more available and more a part of the city.” The Boyle family’s generous and strategic giving has not only made a significant physical transformation possible, but also reaffirmed the importance of art, accessibility, and civic pride at a time when the community needed it most.

PORTLAND ART MUSEUM

GAIL AND FRED JUBITZ When the Portland Art Museum’s Connection Campaign approached its final milestone, it was Fred and Gail Jubitz who stepped forward with the capstone gift that closed the capital portion of the $116 million effort—an act guided not by recognition, but by a shared desire to see the vision fully realized. The decision, Gail recalls, came naturally. After years of watching the project evolve, they simply knew it was time to help bring it across the finish line. It was an instinctive, unified act of leadership—one that placed community above credit and underscored their belief in the Museum’s future. For the Jubitz family, that belief runs deep— rooted in generations of connection to Portland and a long-standing commitment to civic life.

PORTLAND ART MUSEUM

Their support of the Connection Campaign built on a relationship with the Museum that spans decades, including their role in the 2005 expansion that created the Jubitz Center for Modern and Contemporary Art. This new campaign, which enhances access between the Museum’s buildings, strengthens that earlier investment—opening the Jubitz Center more fully to new generations of visitors. Fred and Gail’s connection to the Museum is both personal and enduring. Fred served as Board Chair from 2019 to 2021, helping to guide the institution through the challenges of the pandemic. Both he and Gail have served as trustees, and Gail’s thoughtful leadership has been equally essential. She has long championed the Museum’s mission to make art

engaging and accessible to all, inspiring a sense of welcome and curiosity for visitors of every age. Today, their sons—Matthew, David, and Neil— and their families carry forward that tradition of civic leadership and community commitment. For the Jubitz family, the Museum’s enduring presence remains vital to Portland’s identity and resilience. The new Jubitz Terrace stands as a fitting tribute to their impact—a literal and symbolic opening of the Museum to the city. From this new vantage point, visitors can see Portland in a new light, just as the Museum—through the generosity of donors like Fred and Gail— continues to find new ways to engage, inspire, and connect.

PAT AND TRUDY RITZ Pat and Trudy Ritz’s remarkable commitment to the Portland Art Museum’s Connection Campaign reinforces their legacy as pillars of generosity and support. Their gift spans multiple areas of the campaign, including support for the capital project and the creation of named endowments for Native American art, prints and drawings, and exhibitions—all of which strengthen the Museum’s mission to connect art and people. As part of the Connection Campaign, the Museum has named the Pat and Trudy Ritz Passageway—an essential design element of the new Mark Rothko Pavilion—in their honor. As a a deeply engaged member of the Board’s building committee, Pat Ritz was a key advocate and supporter of the community passageway inviting people into and through the Museum. He and Trudy see the new Rothko Pavilion as a jewel inspiring visitors to our city’s cultural center.

“This museum will be a shining light of the soul,” says Trudy. “We now have an accessible, modern art museum,” says Pat, “and what’s most important is the joy people have in seeing and experiencing the art here.” Pat Ritz, a Life Trustee, has played a vital leadership role at the Museum, serving on the board since 1994 and as Chair from 2017 to 2019. His family’s connection dates back to 1892, when his great-grandfather’s brother, Henry Failing, helped found the Portland Art Association, and his grandmother’s sister, Henrietta H. Failing, became its first director. Over the years, the Failing family has enriched the Museum through gifts of art and service, contributing nearly 700 works to the collection. Pat and Trudy’s strong support of the Museum’s endowments continues this legacy for the benefit of the community.

With their remarkable generosity and leadership, Pat and Trudy Ritz continue a proud family tradition of shaping the Museum’s future.

curatorial positions in Northwest and Asian art, and donated their treasured Chinese Han Dynasty collection. In a 2007 milestone, Arlene and Harold were named the first Life Trustees of the Museum. Known for her candid wisdom and boundless generosity, Arlene once reflected, “Enough is never enough giving back. And Harold felt it as strongly as I do. And that’s it.” Jordan Schnitzer added, “While their financial contributions have been important, I believe their leadership and lifelong effort to enlist many others to support the arts is their greatest legacy.”

ARLENE SCHNITZER A towering figure in the cultural life of Portland and beyond, Arlene Schnitzer’s (1929-2020) generosity cemented her role as one of the most influential arts philanthropists in the region. As one of the very first donors to the Connection Campaign, her visionary support served as a powerful gift of confidence in the Museum’s future, inspiring others to follow her lead. Her landmark contributions totalling $13.5 million made it possible for us to unite our campus via the new Mark Rothko Pavilion and expand endowments to support acquisitions, exhibitions, and programs for generations to come.

PORTLAND ART MUSEUM

In recognition of her extraordinary commitment, the Museum has named its top leadership role the Arlene & Harold Schnitzer Director, ensuring her name remains synonymous with visionary support for the arts. Arlene Schnitzer’s lifelong affinity with the Portland Art Museum began as a student at the Museum Art School. Alongside her husband, Harold Schnitzer (1923–2011), and their son, Jordan Schnitzer, she helped shape the Museum’s trajectory through generous giving, leadership, and advocacy. The Schnitzers supported major acquisitions, endowed key

The impact of Arlene, Harold, and Jordan Schnitzer on the Portland Art Museum—and the wider cultural landscape—will be felt for generations. Through the naming of the Arlene & Harold Schnitzer Director position, the Museum honors not only a monumental gift, but a life spent passionately in pursuit of a thriving, accessible arts community for all.

NANI SWIGERT WARREN Nani Swigert Warren (1923–2021) was one of Portland’s most beloved philanthropists, a tireless advocate for the arts, and a lifelong champion of the Portland Art Museum. Her generosity, leadership, and unwavering belief in the power of art left a profound impact— not just on the Museum, but on the entire community. As one of the very first donors to the Museum’s Connection Campaign, Nani gave a powerful vote of confidence in the project’s promise. In recognition of her extraordinary dedication, the Swigert Warren Community Commons is named in her honor. Located in the new Mark Rothko Pavilion, this space serves as the main entrance to the Museum—a central gathering place that reflects Nani’s lifelong belief in welcoming everyone to experience the arts.

Today, her children and grandchildren carry that legacy forward, continuing to support the Museum and uphold her vision of a more accessible, connected, and inspiring institution for all. Nani’s daughter Wendy recalls that both of her parents encouraged their daughter Catharine to pursue painting, saying, “We all loved and purchased her art. My siblings and I all collect art, all different and wonderful.” For Nani, art was never a luxury—it was “an essential need,” a philosophy she lived through teaching, collecting, and advocating for broad access to the arts. While she won’t be present to see the transformed Museum, her legacy lives on— in the Commons, in her children’s continued leadership, and in every visitor welcomed through the doors she helped open.

PORTLAND ART MUSEUM

BILL AND HELEN JO WHITSELL Bill and Helen Jo Whitsell have long been among the Portland Art Museum’s most dedicated and generous supporters. As Life Trustees and passionate advocates for the arts, their substantial investments through the Connection Campaign continues a remarkable legacy of giving that spans generations. In recognition of their extraordinary commitment, the Museum has named a signature new space in the Mark Rothko Pavilion the Whitsell Family Gallery. This grand, light-filled exhibition gallery will be one of the most dramatic spaces in the new campus, designed to showcase oversized works of art and suspended installations—creating a truly immersive experience for visitors. The Whitsells’ name is already familiar to many Museum-goers through the Whitsell

PORTLAND ART MUSEUM

Auditorium, a cornerstone of the Museum’s film and lecture programs. Helen Jo’s connection to the Museum runs especially deep–her mother was an early supporter, helping instill a love of art that continues in the family to this day. “Art is a human need,” says Bill Whitsell. “You don’t have to interpret art or see anything in it—it’s how it makes you feel.” As an example, the Whitsells tell of one of the first contemporary artworks they purchased, a large abstract painting by Morris Louis that they hung in their house’s entrance foyer—and found their visitors kept gathering around the painting. “They were just drawn to it,” says Helen Jo. That painting, Beta Omicron, is now in the Museum’s collection, part of the Whitsells’ recent generous gift of artworks, and

visitors can gather around it in the Abstraction Since Mark Rothko inaugural exhibition. That gift is just one of many ways the Whitsells have given to our Museum and community, but they see it as a two-way street. “Art has contributed a lot to us both in every way,” says Bill. “We’ve really received more than we’ve given—what we’ve learned, and the friendships we’ve made.” Bill and Helen Jo’s leadership and generosity have shaped the Museum’s past, present, and now, its bold future.

The Portland Art Museum gratefully acknowledges the leadership donors of the Connection Campaign whose generous support made our transformation a reality. $13,000,000+ Arlene Schnitzer

$8,000,000+ Anonymous †

$5,000,000+

Mary and Tim Boyle Trudy and Pat Ritz Nani S. Warren / The Swigert Warren Foundation Mr. and Mrs. William A. Whitsell Anonymous

$3,000,000+

The Andrews Family Mr. and Mrs. Frederick D. Jubitz / The Frederick D. and Gail Y. Jubitz Foundation Joanne Lilley Vasek and Travers Hill Polak

$2,000,000+

1803 Fund Missy and Peter Bechen Daniel Bergsvik and Donald Hastler Barbara Bours Brady The Robert and Mercedes Eichholz Foundation Lematta Foundation † Laura S. Meier, Alix and Tom Goodman, and Jill and Tony Garvey † M. J. Murdock Charitable Trust Eugene and Bonnie Skourtes The Smidt Foundation State of Oregon Greg and Cathy Tibbles † Robert Trotman and William Hetzelson

$1,000,000+

Arden M. Albertini Mary C. Becker † The Blair Family Foundation Mrs. Mary Lee Boklund / The William G. Gilmore Foundation Rick Caskey in Honor of Sue Horn-Caskey Maribeth W. Collins Jim, Anne and Jimmy Crumpacker and Catherine Crumpacker Stafford; and The Elizabeth Pownall Swindells Family Fund of Oregon Community Foundation Pamela and Paul De Boni Jamey Hampton and Ashley Roland Foundation The Healy Foundation Thomas W. Holman, Sr. Cyndy and Edward Maletis Nancie S. McGraw The Mildred E. and Harvey S. Mudd Foundation / Elizabeth and Kirk Day The Oregon Jewish Community Foundation on behalf of Doug, Greg, and Mark Goodman Jin and Julieann Park Patricia Reser and William Westphal Grace Rose Serbu Barbara and Phil Silver Angela and Rex Snow Andrée H. Stevens John and Frances von Schlegell Nani S. Warren’s 5 Children Wieden+Kennedy Judith Wyss Anonymous

† Contribution made in whole or part through a fund of the Oregon Community Foundation. This list honors donors who made gifts of $5,000 or more to the Connection Campaign, received as of October 28, 2025.

$500,000+

Bank of America Sharon and Keith Barnes Lucy M. Buchanan Ed Cauduro Fund of the Oregon Community Foundation / Dane Nelson Jean McGuire Coleman Fred W. Fields Fund of Oregon Community Foundation Lana and Christian Finley Ann Flowerree / Flowerree Foundation Janet H. Geary Mary Chomenko Hinckley and Gregory K. Hinckley Wendy Kahle and Stanley G. Boles Heather Killough Sarah Miller Meigs and Andrew Meigs Mia Hervin Moore and Jonathan Moore National Endowment for the Humanities Marcia H. Randall Foundation Marilyn Rudin, M.D., and Richard Testut, Jr. The Leonard and Lois Schnitzer Family The Standard Rena Tonkin and Cheryl Tonkin in Memory of Marvin R. Tonkin The Jim and Susan Winkler Family Anonymous (2)

$250,000+

Judith Anderson Amjad and Helen Bangash Truman Collins and Nancy Ives Stephanie Fowler and Irving Levin / The Renaissance Foundation Hampton Family Foundation † Henry Lea Hillman, Jr. Foundation Ronna and Eric Hoffman Fund † Maybelle Clark Macdonald Fund Steven McGeady / McGeady Family Foundation The KHR McNeely Family Foundation, Kevin, Rosemary, and Hannah Rose McNeely Tom and Chris Neilsen † Planar Prosper Portland The Rothko Family The Dori Schnitzer Fund of Oregon Community Foundation Peter and Julie Stott / Market Express Darci and Charles Swindells † Christine and David Vernier Priscilla Bernard Wieden in Loving Memory of Dan Wieden Victor, Korina, and Jaclyn Winkler Zidell Family Foundation Anonymous (2)

PORTLAND ART MUSEUM

$100,000+

Carmelo Anthony / National Basketball Association Bill and Joan Bailey Joan Lamb Baldwin Judy Bradley and Dave Mitchell Nancy and Andy Bryant Roger and Mary Beth Burpee † Bryce Butler City of Portland Clark Foundation Jed Cohen and Paul Lance Cameron and Dick Davis in Loving Memory of Aunt Arlene Schnitzer Bryan W. Deaner Christelle and Jon deAsis Mary and Spencer Dick Family Cooper DuBois Ken and Ann Edwards / Starseed Foundation Matthew Felton Katherine and Mark Frandsen Sally C. Gibson Pat and Leona Green Robert and Janis Harrison Linda Rae Hickey Thomas S. Hicks Jerry G. Jones The Keller Foundation in Memory of Ruth and Dick Keller Willie Kemp Nick and Patty Knapp Lamb Family Foundation Ross M. Lienhart / Edwards Lienhart Family Foundation Jerry and Susie Logan Kevin Love Linda and Ken Mantel Jay and Tonia Mason Ryna and Ken Mehr and Family Gilbert and Peggy Miller L.T. Murray Family Foundation / Helena Lankton Eldon W. Ostrem The Mario and Alma Pastega Foundation in Memory of Alma Pastega Bettsy and Wallace Preble Mary Sayler Mildred and Morris Schnitzer Charitable Fund of Oregon Community Foundation Marcy Schwartz Bonnie Serkin and Will Emery Lindsay and Corinne Stewart Carol Streeter and Harold Goldstein Richard S. Testut, Jr.

PORTLAND ART MUSEUM

Carrie Mae Weems Janet Macomber Williamson Jonathan and Pearl Yu Anonymous (2)

$50,000+

William Lee Ashworth Rich and Rachel Baek Julie Beeler & Brad Johnson † Anthony and Martha Belluschi Karen and Harry Groth Jeff and Sandy Grubb Lakecia Gunter Hennebery Eddy Architects, Inc. Warren and Valerie Hill Donald J. Jenkins April Knapp Ronni Lacroute † Carol Schnitzer Lewis and Kathleen Lewis Diane Forsgren McCall S.I. Jaggar Blount Fund † Edie and Mark Millar Dorothy Piacentini The PGE Foundation Lakshmi Raman Fund Robert Lehman Foundation Megan and Thomas Shipley Angela Elaine Summers Bob and Cate Sweeney The Honorable and Mrs. Charles J. Swindells in honor of Fred and Gail Jubitz Kim Cassel Tardie Travel Portland Vinci | Hamp Architects, Inc. Robert and Liz Warren Westover Charitable Fund Bill and Karin Wright Family Michael and Kendra Zupan Anonymous

$25,000+

AAA Oregon Michael and Jamie Anderson Lisa Andrus-Rivera Anne Becker Miller Spencer D. Noecker Ms. Ashley Campion and Mr. Matthew Semler † City Ranch Fund Jon V. Jaqua and Kimberly B. Cooper Fund † The de Weese Family Theo and Nancy Downes-Le Guin Stephen and Nancy Dudley Stephanie Feeney and Donald Mickey Barbara Giesy William Gilliland Google, Inc. Richard and Sandra Helmick Josh and Kerri Hoffman Terri Hopkins Judy and Hank Hummelt Salena Johnson Tara and Edward Kinateder Barbara Kommer and Kurt Koenig Judy W. Lyons Shawn and Lisa Mangum David and Dolorosa Margulis Mia Hall Miller and Matthew Miller Bruce and Jeanette Morrison Mark New Spencer D. Noecker Katherine Pease and John Saurenman Robert and Rita Philip Dina Schnitzer Peter Shinbach Mr. and Mrs. Joseph P. Tennant Rev. Richard B. Thompson Joseph Trpik and JaCee Burnes Isaac Ziegler Charitable Trust Anonymous (3)

$10,000+

Debbie and Mark Charitable Fund Guy and Nora Barron Martha Bergman J & S Bishop Fund † Kay and Martin Brantley The Broad Art Foundation Richard Louis Brown and Thomas Mark Janelle Bynum Kathy Calcagno Emma Colson and Family George and Barbara Dechet Laura Dubois Nancy Duhnkrack Jill and Richard Edelson Barry A. Edwards Penny Emerson European and American Art Council of the Portland Art Museum Ellen Fader Charitable Fund William Sterling Findlay and Susan Halton Fund † Jim Fisher Volvo Cars

$5,000+

Acorn Fund of Oregon Community Foundation Janet Anderson & Michelle Ritter Maddie & Peter Andrews in Honor of Mary & Pete Mark Ajitahrydaya Gift Fund Mark Becker Meg & Scott Becker Drs. John Benson and Virginia Tilden in Honor of Greg and Cathy Tibbles Pamela H. Berg Mort Bishop and Mary Lang Lynn Bliss in Honor of David Leslie Kandis Brewer Nunn and Robert Nunn Lori Brocker and David Knapp Katherine and Vincent Cahill Robert G. and Dorothy N. (Sue) Cameron Family Fund † Mary Carr and James Boehnlein Ann C. Carter and Thomas P. Palmer Casia Chappell Collins Benevolent Fund Mary Overgaard and David Cook David Counter Nichols Cutting Eloise Damrosch Declusin Family Fund DeHaan Family Kirk Dobbins and Herbert Kitchen Martha W. Dougherty

Suzanne Geary Elinor Gollay Jim and Lee Gray Pamela Greene and Hans Kretschmer Luisa Adrianzen Guyer and Leigh Guyer Peter and Diana Hall Kasey & Steve Holwerda Patricia Horan The Jackson Foundation Judy Carlson Kelley Deneen and Raymond King Elizabeth Leach and Bert Berney Louis and Virginia Clemente Foundation Bill and Melinda Maginnis Maletis Beverage Judy Malolepsy and Alex Williams Shawn Menashe Nancy and Dick Mitchell Karel Lee Moersfelder Murakami Family Fund

Lindy J. Narver Native American Art Council of the Portland Art Museum The Overhage Family Fund Dr. Adlai Pappy PDX CONTEMPORARY ART / Jane and Spencer Beebe Dr. Yale Popowich Dee Poth Rolando and Megan Pozos Janice E. Quivey REX HILL Winery David & Madie Richenstein Family Foundation † Jean and Stephen Roth Meredith Savery Loren J. Schlachet Lina and Stephen Seabold Wayne D. Schweinfest Bill Swindells and Heather Casto Walter E. Weyler and Susan Phinney Anonymous (2)

Kitt and Butch Dyer Sheila Finch-Tepper Pat Fleck Zachary Franks Gallatin Public Affairs Gilleland Family Gift Fund Katherine L. Gross Karen Halvorsen Christine Hamm David and Marcia Hilton Caryl Hoffman David Holt Dr. Roy D. Johnson Craig and Lynne Johnston Sanjiv and Cindy Kaul Tracy and Christopher Keys Dan and Paula Kinney Jody Klevit The Greg Kubicek and Elizabeth Cramer Fund Dolores Leon Jeff and Ann Marks Anjanette and Brue McHayle Michael and Mandy Mills Jeffrey Morgan in honor of Dan Bergsvik Nancy and Kevin Morrice Michael D. Mulholland The Nickerson Family Charles and Ruth Poindexter

Wendy and Richard Rahm Fund † Diane and Herbert Rankin Roberts Projects David Roche Laura Ross-Paul and Alex Paul Richard and Deanne Rubinstein Craig and Mary Ruble Susan Schnitzer and Greg Goodman † Paul Schulz and Megan Everts Carol and Tom Shults Jonathan Singer Julie Kern Smith and Arvie Smith MJ Steen Carie Strahorn Anne Swindells Victoria Taylor Nora Terwilliger Karen Tozer Julie Lou Tripp Jon and Linda Twichell Frederick and Maureen Wearn Kelcy M. Whitman Fund The Velma Fund Alice and Wim Wiewel Kim Ziebell Anonymous in Memory of Francis J. Newton, Rachael Smith Griffin, and Hans von Schmidt Anonymous (2)

THE TRANSFORMED PORTLAND ART MUSEUM With heartfelt thanks, we proudly unveil the named spaces that honor the generosity powering the Museum’s next chapter.

LEVEL 0

LEVEL 1

LEVEL 1M

Silver Family Youth and Community Gallery

Lematta Foundation Grand Staircase

13. Angela and Rex Snow Family Bridgeway

Lana and Chris Finley Learning Studio

Marvin, Rena, and Cheryl Tonkin Family Staircase

14. Tibbles Family Gallery

Blair Family Gallery

Lila Goodman Gallery Concourse

Bank of America Visitor Services Area

Ed Cauduro and Dane Nelson South Pavilion Elevator

Jin & Julieann Park Family Welcome Area

15. Mildred Esterbrook Mudd & Caryll Mudd Sprague Gallery

LEVEL 2 16. Eugene and Bonnie Skourtes Gallery 17. Sue Horn-Caskey Corridor

10. Grace Rose Serbu Cafe & Shop

18. Whitsell Family Gallery

11. Swigert Warren Community Commons

19. Jubitz Terrace

12. Thelma Johnson Streat Black Art and Experiences Gallery

16 PORTLAND ART MUSEUM

29 24

21 22

15 11

LEVEL 3

EXTERIOR

Benches

20. Leonard and Lois Schnitzer Family Foyer

24. Pat and Trudy Ritz Passageway Connecting Community with Art

In Loving Memory of Chris Neilsen

LEVEL 4

25. Brian Ferriso East Plaza Dedicated by the Andrews and Meier Families

Priscilla Bernard Wieden in Loving Memory of Dan Wieden

21. George Johanson Foyer 22. Travers Hill Polak Family Gallery 23. Crumpacker Stafford Gallery James Fleming Crumpacker & Catherine Crumpacker Stafford

The Zidell Family

26. James H. Winkler East Entrance

Christine & David Vernier

27. Barbara Bours Brady Bike Bay

Hannah Rose McNeely & Jeffrey Thomas, her godfather, love art! Have a seat and muse about PAM.

28. Tim and Mary Boyle West Plaza 29. The Mark Rothko Pavilion

PORTLAND ART MUSEUM

BEHIND THE SCENES The journey of the art from deinstallation to reinstallation BY THE PORTLAND ART MUSEUM’S COLLECTIONS TEAM

When visitors experience the Museum this fall, they will encounter galleries filled with paintings, sculptures, photographs, and delicate works on paper—each presented in ways that appear effortless. Yet the process of moving, protecting, and reinstalling these works during our major campus expansion is anything but simple. Behind the scenes, an expert team of registrars, preparators, and conservators has spent months meticulously deinstalling galleries and ensuring that every object is handled with the utmost care, and many more months planning the careful reinstallation of over 1,000 of objects.

Art on the Move In 2023 alone, the Museum’s collections team deinstalled more than 2,000 objects across 115,000 square feet of gallery space. The effort spanned the South Wing and later the Jubitz Center for Modern and Contemporary Art, requiring coordination across departments and months of planning. Each artwork, whether a small print or a monumental outdoor sculpture, demanded specialized attention.

PORTLAND ART MUSEUM

Major construction on a historic art museum is already a complex endeavor, and staying open for visitors added even more complexity as the construction phases and impact on art demanded a sequenced plan that would see some artworks packed away for the duration and others relocated. As the construction moved from the south side of the campus toward the center and northward, galleries were deinstalled, some pieces were moved, and eventually galleries in the South Wing were freshly reinstalled in their configuration for the grand opening.

Outdoor works were among the first to move. Clement Meadmore’s Split Ring, a towering Cor-Ten steel sculpture, was removed from Southwest Jefferson Street in January 2023. It will be placed in its new home on Southwest Park Avenue for the grand opening. Nearby, Manuel Izquierdo’s bronze Picador also came down, followed by the striking aluminum Brushstrokes by Roy Lichtenstein. Each removal required heavy equipment, engineering

support, and careful choreography to ensure the safety of the art and the crews. Inside the galleries, the work became even more intricate. Dale Chihuly’s L’Arbre Rouge, composed of 257 fragile glass elements, took three people four days to dismantle—plus an additional day each for preparation and transport. Each piece was tagged, gently vacuumed, wrapped, and puzzled into crates.

documenting inscriptions and dimensions, their role ensured that no detail was overlooked. Preparators, meanwhile, designed mounts, customized crates, and physically managed the movement of each piece. Together, these roles combined to form a system where art could be relocated safely.

Back on view The scale of the project is extraordinary: Nearly 200,000 square feet of gallery space have been reinstalled, including 48 individual galleries and more than 2,300 works from the permanent collection. Over 500 new mounts were created, 400 works on paper matted and framed, and more than 100 artworks conserved to bring the art back for visitors to enjoy. In a way, the deinstallation process mirrors the fragility and resilience of the artworks themselves. Each work of art carries history, memory, and meaning; the Museum’s responsibility is to protect every one not just for today’s audience but for generations to come. The expansion allows the Portland Art Museum to rethink its spaces—but just as importantly, it reminds us of the care and dedication that make every museum visit possible. Meanwhile, Robert Longo’s massive sculpture The Fall spanned multiple stories, and deinstallation required scaffolding, a table lift, and a full team to guide the work down from four stories to street level before preparing it for transport. Every step of the process was governed by strict protocols for condition inspections and preventive conservation measures. Conservators and registrars inspected objects as they were packed, noting any conditions that might need conservation before reinstallation. Strict climate controls ensured that storage areas maintained stable temperature, humidity, and light levels, protecting sensitive materials such as textiles, works on paper, and photographs.

Registrars, often described as the guardians of the collection, tracked every object’s movement. From labeling crates to

THE COLLECTION REIMAGINED Reimagining an art museum’s permanent collection display from the bottom up is a rare opportunity, a moment for curators to present fresh ideas and create new connections among artworks. It’s also a time to debut new acquisitions, pull works from the vault, and offer visitors new takes on favorites. The expanded and renovated galleries feature a complete reinstallation of the Museum’s wide-ranging collection, highlighting nearly 300 major new acquisitions including works by Marie Watt, Simone Leigh, Ugo Rondinone, Pedro Reyes, Hiroshi Sugimoto, Jeffrey Gibson, and Carrie Mae Weems, alongside works that are rarely or have never before been on view, revealing perspectives that emphasize key themes of place, community, and identity. The galleries showcase a new approach to the collection, shifting from traditional chronological presentations to thematic displays that speak to the interests of Oregon audiences, tell little-known stories, and foster dialogue about the ideas shaping our lives. Several galleries also draw throughlines across the collection that allow visitors to discover unexpected connections between works on view.

Support for the inaugural year of exhibitions and programs is made possible by PRESENTING SPONSOR Mary and Tim Boyle

LEAD SPONSORS

William G. Gilmore Foundation Meier Family Fund Mary and Pete Mark Family Foundation Anonymous

MAJOR SPONSORS

Pat and Trudy Ritz Greg and Cathy Tibbles

SPONSORS

Cooper Dubois Grace Serbu and Ivan Gold Alix and Tom Goodman The Smidt Foundation Darci and Charlie Swindells Mr. and Mrs. William A. Whitsell Janet Macomber Williamson

PORTLAND ART MUSEUM

SUPPORTERS

Allen Trust Company Lakecia Gunter KeyBank Elizabeth Leach, Bert Berney, and the Elizabeth Leach Gallery Bruce and Jeanette Morrison NetX Northern Trust PDX CONTEMPORARY ART The Reserve Vineyards and Golf Club Robert Trotman Interior Design

MEDIA SPONSOR

FRIENDS

Zachary Franks Froelick Gallery Heidi and Doug Kirkpatrick Lucinda Parker Wyss Foundation Phyllis A. Yes

LEARNING SPONSORS

City of Portland Arts Access Fund Clark Foundation Al Didier and Sherry Holley The Lamb-Baldwin Foundation Dorothy Lemelson Foundation Oregon Arts Commission Oregon Cultural Trust The Reser Family Foundation Rose E. Tucker Charitable Trust Barbara and Phil Silver Cheryl Tonkin in memory of Alan Baron Tonkin Joseph E. Weston Public Foundation of the Oregon Community Foundation Anonymous

RICK BARTOW

Oregon Cultural Trust

TO GATHER YOUR LEAVING Ford Family Foundation

BLACK ART AND EXPERIENCES

1803 Fund Institute of Museum and Library Services Meyer Memorial Trust

PIPILLOTI RIST

Ronni LaCroute Pro Helvetia Contemporary Art Council Angela Summers

Installation Overview NATIVE AMERICAN ART The Museum’s Native American art collection of over 3,500 objects spans works that represent the expression of hundreds of Indigenous cultural groups from North America. The second-floor galleries showcase the diversity of this collection, while the third-floor galleries, which bridge the Native American and Northwest Art collections, feature a celebration of one of the region’s most prominent Native artists.

NORTHWEST ART The third- and fourth-floor galleries in the South Wing feature works from artist Mary Henry, along with works drawn from the collection of more than 10,000 objects by artists from the Northwest region, including many new acquisitions yet to be exhibited by artists such as Frank Okada, Dinh Q. Lê, V. Maldonado, Mary Ann Peters, and Tannaz Farsi.

Shifting the Narrative: 21st Century Acquisitions Highlighting 25 years of acquisitions, this installation showcases historical works, traditional practices, and contemporary art in diverse media, including photography, painting, and sculpture. A special section offers visitors the opportunity to reflect on the Museum’s over 100-year history of the Native American art program.

Rick Bartow: Storyteller This exhibition celebrates Rick Bartow (Wiyot, 1946–2016) with works from the Museum’s collection, loans from local collectors, and the Bartow Trusts. His work in painting, sculpture, mixed media, and printmaking bridges Native American and Northwest art, broadening the understanding of artistic practices in Oregon.

Mary Henry: A Long Unbroken Line A celebration of the trailblazing West Coast artist who transformed geometry and color into powerful, Bauhaus-inspired abstractions.

To Gather Your Leaving: Themes of Diasporic Experiences in the Northwest An exploration of migration, memory, and hope told through a century of Northwest Art.

LEFT PAGE: Gallery reinstallation photo of American Land; TOP: Julie Buffalohead (Ponca Tribe of Oklahoma and American, born 1972), The Nourished, 2019, Diptych with acrylic, graphite and collage on Lokta paper, Gift of Greg and Cathy Tibbles, 2023.1.1a,b © Julie Buffalohead; LEFT: Rick Bartow (Wiyot and American, 1946-2016), Dog Pack Series 1, 2 and 3, 2003, mixed media containing wood, nails and screws, Gift of David Filer, Portland Art Museum, Portland, Oregon, 2019.45.1. 2019.45.2, 2019.45.3 © The Richard E. Bartow Trust; RIGHT: Mary Henry (American, 1913-2009), Untitled, 2003, acrylic on canvas, Gift of Suzanne and John Rahn through Bill Rhoades, Portland Art Museum, Portland, Oregon, 2014.42.6. © Mary Henry Estate.

ASIAN ART Showcasing the Museum’s important Asian Art collection, the galleries will display a mix of contemporary and historic works, featuring recent acquisitions alongside select loans from one of the finest private collections in North America.

MAKERS: The Culture of Craft Spotlighting the beauty of everyday objects from the Japanese collection across time periods, this exhibition draws its inspiration from Portland’s vibrant maker culture that has long made the city a destination for artists and creatives.

Conversations in Clay A showcase of contemporary Japanese ceramics, highlighting natural glazes, sculptural forms, and surface treatments, with works by pioneering artists such as Kōyama Kiyoko, Matsuda Yuriko, and Kishi Eiko, including new acquisitions and select loans.

Kenji Nakahashi: Between Things

Word in Flower: Arts of Buddhism

This exhibition presents Kenji Nakahashi’s conceptual photographs from his time in New York (1970s–1990s), alongside contemporary Japanese tea bowls, inviting quiet reflection on everyday objects and materials.

Celebrating the Museum’s intimate collection of East Asian Buddhist art, this exhibition features sculpture, calligraphy, painting, rare sacred objects, and contemporary works that explore the rich diversity of Buddhist visual culture.

Cloud Dream of the Nine: The Stories of a Painting A newly conserved Korean screen painting is the focus of this exhibition, exploring its meticulous conservation, provenance, and rich narrative, alongside complementary objects from the collection.

Heaven and Earth: Chinese Art from the Collections Spanning ancient bronzes, medieval landscapes, and contemporary ink painting, this exhibition highlights the Museum’s strong Han dynasty and early Chinese works, while arranging masterpieces into thematic constellations that explore how we make meaning of the world.

LEFT: Japan, unknown artist (Japanese), Meisen kimono with ikat pattern in red, yellow, grey, and black diagonal stripes, 1953/1958, plain weave silk (meisen) with stencil-printed warps and wefts (heiyō-gasuri); light pink baste fiber and dark pink silk lining. Gift of Julia Meech in honor of Maribeth Graybill. Portland Art Museum, Portland, Oregon, 2020.16.2; MIDDLE, TOP: Kenji Nakahashi (Japanese, 1947–2017), Time (B), 1980; printed 1985, gelatin silver print. Anonymous gift in memory of Kenji Nakahashi. Portland Art Museum, Portland, Oregon, 2022.44.12. All rights reserved © Center for Creative Photography, Arizona Board of Regents; MIDDLE, BOTTOM: Installation view of Conversations in Clay with Kondō Takahiro (Japanese, born 1958), Wave, 2022, marbleized porcelain with “silver mist” overglaze and cast glass. Museum Purchase: Margery Hoffman Smith Fund. Portland Art Museum, Portland, Oregon, © Kondō Takahiro, 2023.18.1a,b; RIGHT: Jang Jin-ik (Korean, born 1973), Fulfillment of Emptiness II, 2016, hanji (Korean paper) on copper frame, Gift of Yeon Deung Hoe (Lotus Lantern Festival) Preservation Committee. Portland Art Museum, Portland, Oregon, 2017.87.1. © Jang Jin-ik.

EUROPEAN AND AMERICAN ART PRE-1930 Spread across nine galleries, paintings, sculpture, vases, silver, busts, and more works from the European and American collections are featured in thematic presentations that offer new entry points to engage with, understand, and appreciate the collection.

Myth and Memory: Mediterranean Antiquity and Its Revivals This installation explores the enduring influence of ancient Greek and Roman art, from ceramic pots and vessels depicting stories of Herakles and Orpheus to later interpretations by artists such as Pablo Picasso, revealing how these timeless narratives continue to inspire across generations.

American Land Examining the American landscape in art, this gallery features early Hudson Valley painters, Americans abroad, and urban scenes, alongside Native artists whose works express enduring connections to the land..

Highest Heaven This gallery presents Elvin A. Duerst’s gift of Spanish colonial art from Central and South America, showcasing saints, archangels, and other works that blend Indigenous artistic traditions with European Christian iconography, alongside pre-contact ceramics and textiles from the same regions.

Facing Ourselves: Portraiture and Identity This exhibition examines portraiture as an expression of identity and self-presentation, with examples by Renoir, Picasso, van Dyck, and others. It explores themes of family, authority, and memory in American and European works ranging from Antiquity to the 20th century, in media ranging from stone carving to photography.

Global Impressionism This gallery celebrates the global impact of Impressionism, showcasing how artists from 19th-century France, and across the world, captured modern life in the city, on rivers, and at the seaside, through sketch-like scenes of directness and immediacy. Claude Monet’s Waterlilies, 1914–15, freshly restored in 2024, takes its place beside museum favorites by Renoir, Pissarro, Sisley, Hassam, and others.

Mystic Mountain: Mount Hood in Art For the Enjoyment of All: Celebrating the Kress Gift Highlighting early Italian Renaissance art, this exhibition presents the complete Samuel H. Kress gift for the first time, organized into six thematic areas that reflect the collector’s vision and generosity of his foundation.

This installation highlights Portland’s iconic natural monument as portrayed over the years by artists ranging from Albert Bierstadt and Childe Hassam to Sekino Jun’ichirō, exploring the mountain’s layered cultural histories, including Native narratives and local stories.

Mirror Mirror: Silver in the 20th Century This gallery explores silver’s evolving role in art and society, pairing modern silver objects with silver print photography to highlight its enduring appeal and changing uses over time. LEFT, TOP: Sir Anthony van Dyck (Flemish, active England and Italy, 1599-1641), Portrait of Cardinal Domenico Rivarola, ca. 1623-1624, oil on canvas. Museum Purchase: Funds provided by the Swigert Foundation and private donors, Portland Art Museum, Portland, Oregon, 1999.37; LEFT, BOTTOM: Camille Pissarro (French, born Danish West Indies, 18301903), The Red House, 1873, oil on canvas, Bequest of Winslow B. Ayer, Portland Art Museum, Portland, Oregon, 35.22; MIDDLE: unknown artist, Archangel Gabriel, ca. 1730, oil on canvas, Bequest of Elvin A. Duerst, Portland Art Museum, Portland, Oregon, 2010.25.14; LEFT: Childe Hassam (American, 1859-1935), Mount Hood, 1908, oil on canvas, Gift of Mr. Henry Failing Cabell, Portland Art Museum, Portland, Oregon, 53.22.

MODERN AND CONTEMPORARY ART On the first floor of the Jubitz Center for Modern and Contemporary Art in the North Wing is the Thelma Johnson Streat Black Art and Experiences Gallery, highlighting artwork that reflects the multitude of Black experiences in the United States. The spacious second-level galleries feature a number of significant recent acquisitions of contemporary art and lead visitors to the new Crumpacker Center.

Black Art and Experiences Tenderhead A solo exhibition featuring new works and a site-specific installation by Portland artist Lisa Jarrett reflecting on diaspora, migration, and the aesthetics of Beauty Supply.

Here We Are

From the Collection: Prints by Black Artists

Contemporary art from the Museum’s collection, presenting recent works by artists Simone Leigh, Fred Wilson, Chiho Aoshima, Carrie Mae Weems, Wolfgang Tillmans, Elias Sime, and others that explore identity, place, human connection, and the shifting narratives of our digitized, globalized world.

A showcase of prints by 20th- and 21st-century Black artists, including Derrick Adams, Romare Bearden, and Kara Walker, highlighting stories of struggle, joy, and community while reflecting a rich tradition of graphic expression and influence in American art.

Do I Look Like a Lady? (Comedians and Singers) (2016) A video installation by Mickalene Thomas from the collection, accompanied by an artistdesigned tableau.

Conductions: Black Imaginings II A performance exhibition featuring the work of Noah Beckham, Bridgette Hickey, and Miles Greenberg, along with a piece by Nick Cave from the Museum’s collection, in an examination of memory and ephemerality.

Forming Nature, Nature Formed In the heart of the Rothko Pavilion, this exhibition showcases sculptures in diverse materials that reflect and reimagine our encounters with the natural world and features work from multiple collection areas.

LEFT: Otis Quaicoe (Ghanaian, born 1988), Self-Portrait, 2024, color direct gravure printed chine collé and screen printed overlay, Gift of Daniel Bergsvik and Donald Hastler, Portland Art Museum, Portland, Oregon, 2024.7.1 © Otis Kwame Kye Quaicoe; MIDDLE, TOP: Lisa Jarrett, Migration Studies, Beauty Supply (No. 95, Grandma), 2023, mixed media, pink and brown Kanekalon hair woven into pigment print with pink foam rollers and lace, © Lisa Jarrett; MIDDLE, BOTTOM: Pedro Reyes (Mexican, born 1972), Infinity Chair, 2018, marble, Museum Purchase: Funds provided by Amjad Bangash, Peter and Missy Bechen, Mary Blair, Mary Lee Boklund, Cooper Dubois and Sanda Stein, Ryan and Mary Finley, Hank and Judy Hummelt, Doug and Selby Key, Alix Meier Goodman, Pat and Trudy Ritz, Lois Schnitzer, Robert Trotman and Bill Hetzelson, and Jim and Susan Winkler, Portland Art Museum, Portland, Oregon, © Pedro Reyes, 2019.18.1; RIGHT: Simone Leigh (American, born 1967), Sentinel IV (Gold), 2021, bronze, gold leaf, Gift of the Miller Meigs Collection, Portland Art Museum, Portland, Oregon, 2024.18.1.

Pipilotti Rist: 4th Floor to Mildness Making its West Coast debut in the new Crumpacker Center, the groundbreaking video artist transforms the space with luminous color, moving imagery, and melodic sound.

The upper floors of the Jubitz Center for Modern and Contemporary Art focus on American art of the 20th century, highlighting artists from the 1950s to 1980s, with works that explore perception, surface, materials, and process. On the top floor, visitors will find paintings by Mark Rothko.

Abstraction Since Mark Rothko A companion to The Art of Mark Rothko, this exhibition traces the vitality of American abstraction from Rothko’s immersive color fields to contemporary artists who expand the visual language of abstraction across media, meanings, and personal narratives.

The Art of Mark Rothko This exhibition reintroduces local audiences to one of the foremost American artists of the 20th century, tracing the evolution of the Portland-raised artist’s work from early figurative paintings to his iconic color-field masterpieces. For the next several years, the Museum will showcase art from the collection of Christopher Rothko and Kate Rothko Prizel, Mark Rothko’s children, to honor the artist’s connection to Portland and his legacy in the history of American art.

TOP LEFT: Pipilotti Rist, 4th Floor to Mildness from the Mildness Family, 2016, Two projections onto two amorphous panels suspended horizontally from the ceiling, single and double beds with pillows and covers; Exhibition view: Pipilotti Rist: Pixel Forest, New Museum, New York (26 October 2016–15 January 2017). Photo: Maris Hutchison / EPW Studio; Courtesy of Luhring Augustine Gallery, New York; MIDDLE: Mark Rothko (American, born Russia, 1903-1970), No. 16 [?] {Green, White, Yellow on Yellow}, 1951, Oil on canvas, Artworks on canvas by Mark Rothko Copyright © 1998 by Kate Rothko Prizel and Christopher Rothko/Artists Rights Society (ARS), New York; RIGHT: Reginald Sylvester II (African American, born 1987), Praise Our Way Out of the Grave, 2021, acrylic and rope on US military issue canvas shelter, Museum Purchase with funds provided by Frank Moore and Hunter Ryan. Portland Art Museum, Portland, Oregon, 2023.45.1, © Reginald Sylvester II; BOTTOM: Raymond Saunders (American, 1934-2025), Assemblage, 1991, pigment, pastel, collage, found objects, and wood panel on canvas, Gift of Agnes Bourne and Jim Luebbers on the occasion of the 110th Anniversary of the Museum, © 1991 Raymond Saunders, 2003.45a-e.

Im/Material An exploration of how artists since the 1960s, including luminaries Dan Flavin and Joseph Kosuth, alongside women and queer artists and artists of color, pushed art in new directions through conceptual practices, Minimalism, expressive assemblage, and experiments with materials.

PRINTS AND DRAWINGS The galleries devoted to prints and drawings celebrate the collection’s strong sense of place, uplifting the history of printmaking in the Pacific Northwest.

Inkling Studio: Community and Printmaking in Portland, 1981–2009

PHOTOGRAPHY With a newly expanded footprint, the photography galleries now have more room to feature works from the Museum’s extensive collection.

Together Photographs from the Museum’s collection celebrate human connection, from 19th-century portraiture to contemporary images centering community and shared experiences.

This exhibition is the first to tell the story of Inkling Studio, a cooperative print studio atelier in Southwest Portland. Over nearly four decades, Inkling fostered community and supported the work of more than one hundred artists.

A Brief History of Photography: The Landscape This selection of landscape photographs spans the history of the medium, from an 1850s daguerreotype to contemporary digital prints, exploring both the beauty of the natural world and the ways photography reflects technological, artistic, and environmental concerns.

NEW MEDIA The Lower Level of the South Wing is now a destination for the newly restored Whitsell Auditorium and the Blair Family Gallery. Together, they create a home in the Museum for PAM CUT // Center for an Untold Tomorrow, where events, installations, and activations complement the cuttingedge programming taking place at the Tomorrow Theater, and feature film series programming in conversation with the work at the Portland Art Museum.

Marco Brambilla: Maximalist Dreamscapes

Paul Harris: Shut-In Suite, 1969–1970

Two massive works, Heaven’s Gate and Anthology, explore cinema’s visual and emotional power, from a looping 3D journey through Hollywood’s spectacle and excesses to a photo-montage “memory timeline” that captures iconic moments and narrative fragments across genres and eras.

Debuting in the newly created Skourtes gallery, this special presentation presents 20 recently gifted, colorful lithographs from Harris’ Shut-in Suite, 1969–70 series, depicting vibrant tableaus that reflect upon the isolation, beauty, and magic of everyday life.

PORTLAND ART MUSEUM

LEFT: Paul Harris (American, 1925-2018), One Morning in Munich, from the Shut-In Suite, 1970, color lithograph on paper. A Gift from Marguerite Kirk Harris from her collection of Paul Harris Art. Portland Art Museum, Portland, Oregon, 2023.27.1f © Paul Harris / Marguerite Kirk Harris Survivor’s Trust; MIDDLE: Ray McSavaney (American, 1938-2014), Broadway Portraits - Couple, Mannequin with Scarf, ca. 1983, gelatin silver print. Gift of the Ray McSavaney Archive. Portland Art Museum, Portland, Oregon, 2018.56.9. © Ray McSavaney Archives; RIGHT: Installation view of Marco Brambilla’s Heaven’s Gate, Courtesy of Marco Brambilla Studios.

CREATE SPACE ACTIVATES THE NEW THELMA JOHNSON STREAT BLACK ART AND EXPERIENCES GALLERY This November, the Portland Art Museum will unveil the Thelma Johnson Streat Black Art and Experiences Gallery, a transformative new space dedicated to celebrating the breadth, depth and vitality of Black artistic expression. Named for Thelma Johnson Streat (1912–1959), an internationally celebrated artist, performer and educator, the Gallery honors a visionary whose story has too often gone untold in her own city. With deep roots in the Pacific Northwest, she continues to inspire generations of artists. Supported in part by a multi-year grant from 1803 Fund, this moment marks the first time in the country that a major art museum has a gallery named for a Black female artist. Designed to be a living, evolving platform, the gallery will feature rotating exhibitions, multimedia installations, and community-driven programs that spotlight regional, national, and international Black artists and voices across generations. Miles Greenberg, Landscape with Figures, 2022, Marina Abramovic Institute, Royal Theatre Carre, Amsterdam, Netherlands, Courtesy of the artist, Photo by Joy Hansson.

In conjunction with the gallery, PAM will open CREATE Space: Black Art and Experiences—a designated activation space on the first floor of the Center for Modern and Contemporary Art that supports deeper engagement with Black art through visitor dialogue, reflection, and creativity. With a focus on centering artist-led partnerships and experimental practice, CREATE Space kicks off its inaugural year with an installation by artist in residence Dr. Kiara Hill. Dr. Hill will showcase a curated selection of documentary material and ephemera from her work with Black Arts PDX, an archival project dedicated to preserving the personal stories, artistic journeys, and the unique lived experiences of Black artists and cultural workers in Portland. This archive comes out of a collaboration between Dr. Hill and Culture Bearers Archive Inc., a community-driven nonprofit led by longtime Portland residents Mr. Bobby Fouther and Ms. Liz Fouther-Branch.

During the Rothko Pavilion’s opening weekend, CREATE Space is partnering with Portlandbased artist Sharita Towne to offer an artmaking activity in connection with the BAE Gallery. Following the opening, visitors can also look forward to a series of performances by exhibiting artists Noah Beckham, Bridgette Hickey, and Miles Greenberg in Conductions: Black Imaginings II. With performances taking place on January 10, 2026, by Beckham; on February 14, 2026, by Hickey; and on March 14, 2026, by Greenberg, CREATE Space will offer programming and prompts for engagement around the exhibition’s central themes of ephemera and remembrance. Additional program support provided by Meyer Memorial Trust.

PORTLAND ART MUSEUM

LEARNING AT THE HEART OF THE MUSEUM Introducing the new Silver Family Youth and Community Gallery and the Lana and Chris Finley Learning Studio Education has always been at the heart of the Portland Art Museum, and this fall that commitment takes vibrant new form. On the Museum’s lower level, visitors will discover two new welcoming spaces designed for creativity and connection: The Silver Family Youth & Community Gallery and The Lana and Chris Finley Learning Studio.

Silver Family Youth & Community Gallery This re-imagined gallery celebrates the Museum’s partnerships with schools, youth, and community organizations by showcasing art created by them. The inaugural exhibition—the space in which to place you—emerges from the recent Venice Biennale Educator Cohort Project, a multi-year collaboration between artist Jeffrey Gibson, 10 educators led by PAM and SITE Santa Fe, and the National Museum of the American Indian. The project re-envisions how Native American art and cultures are taught nationwide, spotlighting contemporary art and featuring new educator resources, to be shared for free on the Smithsonian’s Native Knowledge 360 platform and the Jeffrey Gibson Venice Biennale website.

PORTLAND ART MUSEUM

On view are works by students from preschool through college responding to Gibson’s art and ideas. Highlights include a striking 17-foot mural by Eugene, Oregon, high school students, guided by teaching artist Julia Blue Arm and inspired by Gibson’s bold transformation of the U.S. Pavilion in Venice. Additional contributions come from students at NAYA Many Nations Academy in Portland, Western Oregon University, and Kearny Elementary in Santa Fe. The gallery will feature two to three exhibitions annually. This spring, PAM partners with Portland Public Schools to present the 2026 HeART of Portland: A K-12 Arts Showcase.

Lana and Chris Finley Learning Studio Next door, the Finley Learning Studio offers a fully renovated, hands-on artmaking hub with new sinks, counters, and a glass wall that opens directly to the gallery. It will host art activities during community free days and youth events, and provide a meeting place for small classes and workshops. Together, these spaces honor more than a century of student and community creativity at PAM and invite visitors to create, explore, and see themselves on the Museum’s walls.

A NEW DINING AND SHOPPING EXPERIENCE A delicious bite to eat, a perfectly prepared latte, a shop filled with inspired items, and a beautiful space to enjoy it all are essential to a perfect day at an art museum. As part of the Museum’s transformation, the new Shop at PAM and cafe Coquelico (ko-KLEE-koh) aim to do just this—provide a shopping and dining experience as seamless and beautiful as the art and galleries themselves. Visitors will find the Shop at PAM and Coquelico next to each other and situated on the new West Plaza, offering views toward the stunning new Ugo Rondinone sculpture, and with tables and chairs for al fresco dining and relaxing. Coquelico is a partnership with the well-known Portland culinary marketplace Providore Fine Foods. This new, must-visit downtown

European bistro offering an inspired, simple menu with breakfast, lunch, and dessert, plus seasonal offerings and rotating dishes inspired by exhibitions at the Museum. It also offers full coffee service all day, with wine, beer, vermouth, and non-alcoholic cocktail options in the afternoon and early evening.

dining destination takes its name from the French word for a reddish-orange poppy flower and pays homage to the palettes of the famous color field paintings by artist Mark Rothko. Coquelico is an experiential, modern

The Shop at PAM is more than a store: it is a space where art, creativity, and community come together. Offering finely crafted, original, and purposeful objects, the Shop reflects the same curiosity and creativity that define the galleries—inviting visitors to carry the Museum’s spirit into their daily lives. From intriguing works by local artists to designs with a global perspective, each piece feels both “of Portland” and well-traveled. The Shop at PAM is a place of discovery—an elevated and delightful reminder of the artful living PAM inspires. The Shop at PAM is open during Museum hours, and Coquelico is open Tuesday – Sunday, 9 a.m. to 6 p.m.

IN THE DETAILS Precision craftsmanship BY ANDREW SMITH, AIA, PRINCIPAL, HENNEBERY EDDY ARCHITECTS, AND CAROLYN SIZEMORE, DIRECTOR, MORTENSON

Connecting two buildings of different eras by adding a new pavilion in between requires not only highly detailed design but also excellent craftsmanship. From preserving historic elements while updating systems, to meticulously transitioning from existing to new materials, craftsmanship played a critical role in the success of the Museum’s transformational expansion and renovation.

Historic preservation

Materials experts

On the Museum’s second floor, a former Masonic Temple meeting room turned Museum library was transformed into a soaring space for contemporary art, the Crumpacker Center. In order to preserve the historically significant murals and ceiling, the original plaster walls were concealed behind newly erected gallery walls, leaving the ornamental wood ceiling as the only visible original feature. This method maintains the ability for future generations to reveal the original features of the space.

As visitors traverse the new Rothko Pavilion and adjacent spaces, flooring and custom furnishings serve to create visual consistency, reinforcing the complementary relationship of the buildings’ historic character and contemporary amenities. A single source of white oak veneer, crafted and installed by Straight Up Carpentry, shines throughout the stunning new Shop at PAM and Coquelico cafe, as well as the new Mark Rothko Pavilion.

New ceiling lighting and suspension anchors were installed in preparation for the space to present a variety of art forms. To do this, Straight Up Carpentry carefully labeled, removed, protected, and stored the ornamental wood ceiling components. After the new walls and systems were installed, they reassembled the ceiling with such precision that there is virtually no evidence of the intervention. Museum Assistant Conservator Karen Bishop then used her expertise to seamlessly repaint the historic plaster surface of the decorative concrete beams supporting the Crumpacker ceiling.

PORTLAND ART MUSEUM

The new black Nightlight flame-finished granite pavers and floor tiles are one of the most striking design features of the Mark Rothko Pavilion and exterior plazas. Their precise layout creates a seamless flow from the Southwest Park Avenue curb, through the Pavilion, and out to the Southwest 10th Avenue curb—blurring the boundary between exterior and interior spaces. The pavers were designed to align with adjacent glass panels, granite benches, planter boxes, and stainless steel edging with

remarkable precision. Achieving this level of integration required careful preplanning, measurements, and installation. The team from Schonert Tile successfully executed the design vision, supporting the aesthetic impact and long-term durability of this signature element of the Pavilion. The design team of Hennebery Eddy Architects and Vinci Hamp Architects, and local builder Mortenson, alongside their trade partners and suppliers, are proud to have shaped the transformation of the Portland Art Museum.

Did you know? Each paver in the West Plaza weighs just under 100 pounds and is set on a custom floor system designed to support heavy vehicles or installations for future exhibitions. Over 15,000 square feet of granite was used on the exterior of the project, and another 22,000 square feet on the interiors! That’s more than three-quarters of an acre!

EXHIBITIONS & INSTALLATIONS

DAVID HOCKNEY Works from the Collections of Jordan D. Schnitzer and His Family Foundation FEBRUARY 14 – AUGUST 26, 2026 This vibrant exhibition is the largest North American survey exhibition of David Hockney’s work, with more than 100 colorful prints, collages, video, and photographic and iPad drawings spanning six decades of the artist’s career.

are his iconic subjects and series—California swimming pools, the monumental Yosemite, and British landscapes in full bloom, as well as intimate portrayals of friends, family, and queer desire.

Hockney is best known for vivid scenes that highlight his passion for both the natural world and human connection. In this exhibition, visitors will experience a stunning array of dimensions and media that underscore Hockney’s innovative experiments. Included

“Hockney’s colorful, fresh perspectives encourage us to reconsider everyday objects, faces, and places of our rapidly changing contemporary world in whimsical new ways,” said Catherine Whitney, Honolulu Museum of Art Director of Curatorial Affairs and exhibition consulting curator.

TOP: David Hockney, August 2021, Landscape with Shadows; Twelve iPad paintings comprising a single work. © David Hockney. BOTTOM: David Hockney, Joe with Green Window, 1979, Lithograph. © David Hockney / Tyler Graphics Ltd.

PORTLAND ART MUSEUM

Highlighting some of Hockney’s most celebrated pieces, David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation sheds light on the artist’s process, driven by his fascination with technology as a channel for both artistic creation and human connection. In a pursuit to better understand how artists translate visual perception, Hockney has explored historical modes of representation, including the expansive spaces of traditional Chinese scrolls, the condensed dimensionality of Cubism, and the linear perspective of the Italian Renaissance, as well as optical devices like mirrors and the camera obscura. He also takes inspiration from the continual advancement of modern technology to evolve his approach and visual vocabulary, utilizing tools such as copy machines, photo editing software, iPhones, and iPads. “To many, David Hockney is the most important artist working today. His images take us on a journey through country roads and gardens and let us view his exploration of perspective. More than any other artist, he has used technology to create art,” said ARTnews Top 200 Collector Jordan Schnitzer. “Whether it was Xerox prints, Polaroid photographs, or on the iPad, Hockney’s eye and hand create some of the

most intriguing and beautiful art ever made!” Hockney’s ability to engage deeply with an ever-changing world invites viewers to reconsider ideas of relationships versus solitude, spectacle versus reality, and tradition versus technology. A highlight of the exhibition is a 2014 photographic series that demonstrates an innovative approach involving “reversed perspective,” in which the spectator’s view is tightly focused on the foreground of an image, rather than upon a far-off vanishing point. Multiple angles and equally sharp viewpoints converge simultaneously to visually simulate the experience of moving through space and time.

“We are pleased to be partnering with Jordan D. Schnitzer and His Family Foundation on this impressive exhibition of David Hockney’s work,” said Brian Ferriso, The Arlene & Harold Schnitzer Director of the Portland Art Museum. “We are excited for visitors to experience the artist’s vibrant style, subject matter, and perspective shifts in the newly renovated and expanded museum.” Organized by Catherine Whitney, Honolulu Museum of Art Director of Curatorial Affairs. RIGHT TOP: David Hockney, 25th June 2022, Looking at the Flowers (Framed), Photographic drawing printed on five sheets of paper. © David Hockney assisted by Jonathan Wilkinson; RIGHT: David Hockney, Self Portrait, 1954, Lithograph in five colors. © David Hockney. Photo credit: Richard Schmidt.; BOTTOM: David Hockney, Gregory in the Pool (Paper Pool 4), 1978, Colored and pressed paper pulp, Variation Q. © David Hockney / Tyler Graphics Ltd.

PORTLAND ART MUSEUM

YOSHIDA CHIZUKO THROUGH JANUARY 4, 2026 Portland Art Museum presents the first major museum retrospective to focus on the groundbreaking 20th-century painter and printmaker Yoshida Chizuko (1924–2017), a pioneering woman modernist in Japan. Yoshida Chizuko features over 100 works, many of which have never previously been exhibited. Many works in the exhibition comprise a major planned acquisition from the Yoshida family estate, joining the Museum’s exceptional holdings of 20th-century Japanese prints that are among the most significant in the country.

GLOBAL ICONS, LOCAL SPOTLIGHT Contemporary Art from the Collections of Jordan D. Schnitzer THROUGH JANUARY 11, 2026

Yoshida Chizuko traces the evolution of the artist’s full career, from avant-garde abstraction in the late 1940s and 1950s to illusionistic op art and neon-colored photoetchings in the 1960s and 1970s, to her late career, which was heavily influenced by the natural world. The exhibition situates her within the context of international modernist art and 20th-century Japanese printmaking, a medium that experienced enormous global popularity in the postwar era. A daylong symposium in October offered expanded context for the exhibition and for Yoshida Chizuko’s work during her lifetime. A free audio guide on the Bloomberg Connects app features commentary by curator Jeannie Kenmotsu, guest scholars, and the artist’s daughter Ayomi Yoshida. An exhibition catalogue is forthcoming. Yoshida Chizuko is organized and curated by Jeannie Kenmotsu, Ph.D., the Arlene and Harold Schnitzer Curator of Asian Art, and will be accompanied by a catalogue. This exhibition is made possible by the Institute of Museum and Library Services, Asian Art Council, The Standard, Ameriprise Financial, The Japan Foundation, Robert Lehman Foundation, Sally C. Gibson, and the Metropolitan Center for Far Eastern Art Studies.

Highlighting recent acquisitions from the collections of Jordan D. Schnitzer and his Family Foundation, Global Icons, Local Spotlight includes more than 65 works by celebrated artists of the 20th century, such as Andy Warhol, Helen Frankenthaler, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Julie Mehretu, Wendy Red Star, and Judy Chicago. The exhibition features works across various media, including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more. Additional artists in the exhibition include Tracey Emin, Jeffrey Gibson, Keith Haring, Jeff Koons, Barbara Kruger, Dinh Q. Lê, Roy Lichtenstein, Faith Ringgold, Tschabalala Self, Mickalene Thomas, and Portland’s own Marie Watt, among others. The selection of artists on view reflects Schnitzer’s major postwar holdings while highlighting his commitment to supporting a younger generation of talents from diverse backgrounds, with particular attention to women, BIPOC, and Indigenous artists.

LEFT: Yoshida Chizuko (Japanese, 1924–2017), Valley of Butterflies, 1979, photoetching and color woodblock print on paper, Courtesy Estate of Yoshida Chizuko. © Yoshida Chizuko; RIGHT: Installation view of Global Icons, Local Spotlight with Marie Watt’s Skywalker/Skyscraper (Abuela, Cobija, San Marcos) (2022) in the foreground and Jeffrey Gibson’s YOUR LOVE WILL BRING ME HOME (2023) in the background. Photo by Aaron Wessling. 34

PORTLAND ART MUSEUM

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. Generous support provided by Jordan Schnitzer and The Harold & Arlene Schnitzer CARE Foundation.

THE STARS WE DO NOT SEE: AUSTRALIAN INDIGENOUS ART SEPTEMBER 5, 2026 – JANUARY 3, 2027 Organized by the National Gallery of Victoria (NGV) for North American audiences, this exhibition features over 200 works by more than 130 artists, drawn from NGV’s worldleading collection in Melbourne. Showcasing iconic masterpieces—many leaving Australia for the first time—The Stars We Do Not See traces Indigenous Australian art from the late 19th century to today, revealing a deep creative history predating British arrival. The exhibition highlights customary styles, including Central and Western Desert dot paintings, ochre bark paintings, cultural objects, and experimental weavings, alongside groundbreaking works in neon, video, photography, and sound. Representing over 250 Indigenous nations, the collection spans the Tiwi Islands, Arnhem Land, the Torres Strait, and beyond. Notable works include Emily Kam Kngwarray’s Anwerlarr Anganenty (Big Yam Dreaming) (1995), an immense, globally renowned painting. The show also features contemporary new-media artists such as Brook Andrew, Richard Bell, Reko Rennie, and Maree Clarke.

crosses to represent the stars we can see and a dense network of dots to symbolize the stars we cannot see—the unseen expanse of the universe. The Yolngu people live in Arnhem Land, with Star Lady coming from a community in the northeast known as Yirrkala. Arnhem Land is a region at the top of the Northern Territory that is internationally known for its artists’ daring work on bark. “We are honored to bring this important exhibition to Portland,” said Brian Ferriso, The Arlene & Harold Schnitzer Director of the Portland Art Museum. “I am so grateful to my

National Gallery of Art, the National Gallery of Victoria, and my North American museum colleagues for partnering with us on something of such significance. We cannot wait for visitors to see these stunning works of art in our newly transformed campus.” This exhibition is curated by Myles Russell-Cook, former Senior Curator Australian & First Nations Art National Gallery of Victoria. In Portland, the exhibition presentation is coordinated by Kathleen Ash-Milby, Curator of Native American Art. Bank of America is the North America Tour Sponsor for the exhibition.

The exhibition’s title, The Stars We Do Not See, is inspired in part by the late senior Yolngu artist Gulumbu Yunupingu (1943–2012), who, after her passing, became known as “Star Lady” for her extensive paintings of the night sky. Yunupingu’s intricate works, a selection of which will be featured in the exhibition, use TOP: Birmuyingathi Maali Netta Loogatha, Mirdidingkingathi Juwarnda Gabori, Warthadangathi Bijarrba Ethel Thomas, Thunduyingathi Bijarrb May Moodoonuthi, Kuruwarriyingathi Bijarrb Paula Paul, Wirrngajingathi Bijarrb Dawn Naranatji, Rayarriwarrtharrbayingat Amy Loogatha, Dulka Warngiid, 2007, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased with funds donated by Catherine Allen, Carolyn Berger and Delma Valmorbida, 2007, © Birmuyingathi Maali Netta Loogatha; Mirdidingkingathi Juwarnda Sally Gabori; Warthadangathi Bijarrba Ethel Thomas; Thunduyingathi Bijarrb May Moodoonuthi; Kuruwarriyingathi Bijarrb Paula Paul; Wirrngajingathi Bijarrb Kurdalalngk Dawn Naranatjil; Rayarriwarrtharrbayingathi Mingungurra Amy Loogatha / Copyright Agency, Australia 2023; BOTTOM: Timothy Cook Tiwi 1958, Kulama, 2012 earth pigments on canvas, National Gallery of Victoria, Melbourne Robert Martin Bequest and NGV Supporters of Indigenous Art, 2019 © Timothy Cook / Copyright Agency, Australia 2023.

LOOK, LEARN, CONNECT PAM guide programs invite visitors of all ages to experience art in deeper, more personal ways As the Portland Art Museum opens the doors to the new Rothko Pavilion, we are also celebrating fresh approaches to one of our longest traditions: guided experiences in the galleries. From school visits to drop-in conversations, our Learning Guide programs are reimagining what it means to explore art together. Now in its third year, one of our most successful initiatives is the Learning Guide program. Paid interns from local colleges and universities lead K–12 school groups through the galleries, encouraging students to look closely, share ideas, and think creatively. Teachers tell us that the Learning Guides are “accessible, knowledgeable, and engaging” and that they “make each student feel as though they are an important and welcome visitor.” At the same time, our Look With Me program offers opportunities for all visitors to slow down in the galleries. Led by volunteer guides, these

36 PORTLAND ART MUSEUM

short sessions invite participants to spend 20 minutes with a single artwork, modeling ways to linger, ask questions, and discover personal connections. Once a month, Look With Me is paired with our Art in ASL program to provide sessions fully in American Sign Language. Together, these programs reflect our commitment to access, welcome, and belonging. They show how the Museum is reimagining what it means to be in the galleries, not just as a place to view art, but as a place to connect, belong, and learn with each other.

As we step into the Museum’s next chapter, we are thrilled to continue shaping spaces where art connects us all. For upcoming sessions, please visit the Museum calendar at portlandartmuseum.org.

TEACHER PRAISE FOR OUR LEARNING GUIDE PROGRAM:

Above and beyond great. Everyone showed such kindness to my class. The students felt comfortable and welcomed. Pacing in the galleries was great—not too crowded and felt like we had time to really look at works.

PAM CUT

PAM CUT OFFERS A MULTIMEDIA FEAST AT TOMORROW THEATER The Tomorrow Theater is PAM CUT’s eastside home to a multimedia feast of creators pushing the boundaries of what’s possible. Located at 3530 SE Division St., the theater is a space where artists collaborate across disciplines, and multi-interest audiences commingle and collide to experience cinematic storytelling in its many forms. This past year, we have opened our doors to diverse voices, from Miranda July’s discussion on non-sexual intimacy, to Julio Torres questioning millennial design choices. From Francis Ford Coppola sharing his vision for shaping our future, to actress Stephanie Hsu hosting a garden party and poetry reading, world-class artists have had carte blanche to discuss their artistic influences and share what’s on their mind.

PORTLAND ART MUSEUM

This fall, discover new voices from our Carte Blanche series like performance artist Alok Vaid-Menon and renowned Euphoria makeup artist Donni Davy. Play around during one of our famous drag bingo nights, or catch films hosted by some of our favorite local legends. We are thrilled to partner year-round with creative collective Brain Dead and global film distributor MUBI, as well as screen sneak peeks of some of the most anticipated yet-to-be-seen A24 films. In November, catch PLUS PLUS Festival, a 10-day festival of boundary-breaking art that blends film, performance, music, and immersive

experiences to explore transformation, connection, and what it means to create the future together. Happening November 13–23 in conjunction with the opening of the Portland Art Museum’s transformed campus, the projects featured in the festival focus on transformation and shapeshifting, addressing what it means to be human in an ever-changing, constantly evolving world. Premieres and one-night only events include a Carte Blanche event with multifaceted writer and comedian Robby Hoffman; the West Coast premiere of Ancestors: An Interactive Journey into the Future; an evening of readings from celebrated Northwest author and screenwriter Jon Raymond; and Infinitely Yours by performance and multimedia artist Miwa Matreyek. Tickets are available at tomorrowtheater.org or at the doors. Discounts available for PAM members!

PAM CUT MAKES RENOVATED WHITSELL AUDITORIUM A NEW CINEMATIC HOME PAM CUT brings its signature style back to the Museum at the newly renovated Whitsell Auditorium. With inspiration from the Tomorrow Theater, as well as taking cues from artist services programs, classes, and camps, PAM CUT @ The Whitsell will showcase work by media artists, storytellers, filmmakers, and visionaries who push the boundaries of film as an art form. With screenings held every Saturday and Sunday at 11 a.m. and 2 p.m. beginning in early 2026, our newest location features chic, distinctive, and elevated exhibition-style programming in a top-ofthe-line renovated space. Whether it’s old favorites, new discoveries, guest programmers or guestcurated series, the theater will highlight world-class voices that inspire, challenge, and influence the art of cinematic storytelling. Opening in January, we will feature the 2025 U.S. premiere of the evolving audiovisual experience:  — a cosmic journey through the history of film. Johann Lurf’s epic and ever-expanding piece will be looped throughout the day, inviting audience members to gaze at the night sky and connect with cinema past and present. Following this piece, our first film series is an exploration of reality through the lens of MAXIMALIST DREAMSCAPES. This first series is in conversation with Marco Brambilla: Heaven’s Gate, on view in the Blair Family Gallery adjacent to the Whitsell Auditorium. MAXIMALIST DREAMSCAPES explores the space between dream, memory, and media through bold visionary films that don’t just show us what is—they construct alternate possibilities, expand our perception of the world, and open portals to entirely new dimensions.

SAVE THE DATE!

THE NEXT CINEMA UNBOUND AWARDS ARE COMING MAY 29, 2026 Stay tuned to portlandartmuseum. org/cinema-unbound-awards for details.

PAM CUT’s Whitsell Auditorium reopening is more than a launch; it’s an invitation to come see what’s new. An invitation to dream, to expand the possibilities of who and what shape our realities, and to create a new vision for tomorrow. Together, let’s imagine what a new theater, a new Museum, and a shared future can look like.

PORTLAND ART MUSEUM

SUSTAINABILITY LABS 2025 PAM CUT was overjoyed to welcome the cohort for the 2025 Sustainability Labs, which took place May 26–30 of this year, and featured fellows Robin Frohardt, Paige Wood, Ronak Shah, Ariella Tai, and Fuchsia Lin. This exciting and innovative group of artists are creating moving, courageous, and thoughtful work in puppetry, interactive theater, video game design, animation, installation, narrative film, and television. Fellows worked with guest mentors Radha Blank, Jennifer Reeder, Melanie Coombs, Kirsten Johnson, and Susan Lewis, along with career coach Kisha Imani Cameron and an array of guest presenters including Rose Bond, Julie LeBassiere, Skylight Collective, David Cress, and Nisha Burton. Applications for the 2026 Sustainability Labs will be opening up in fall 2025.

CREATIVITY IN ACTION Summer Camps Inspire Young Storytellers This summer, PAM CUT’s Summer Camps gave kids ages 8–14 the chance to explore the world of media arts. With nearly all nine camps sold out, young creators experimented with digital and stop-motion animation, DJing, podcasting, creature design, world building, and video game creation. Guided by professional teaching artists, these camps offer more than just summer fun. They

provide an artistically unbound space where kids could be themselves, take creative risks, and discover their unique voices. Campers gained practical creative skills, built confidence, made friends, and collaborated on projects they were proud to share. The creative adventures don’t stop when summer ends! On November 15, we celebrated beloved family recipes in Kitchen Stories //

Creating Your Family Recipe Zine. On December 20, let your holiday spirit run wild in Wacky, Tacky, Wonderful // A Family Ornament Making Adventure, where Pee-wee Herman–inspired heirloom ornaments shine in all their kitschy glory. Plus, youth ages 11–14 can sharpen their skills in digital drawing, animation, and more during our Winter Break Intensives, taking place December 22–23 and 29–30, 2025. Then mark your calendars: Registration for Summer Camp 2026 opens in January! For the latest on PAM CUT Artist Services and class & camp offerings, stay tuned to portlandartmuseum.org/pam-cut.

PORTLAND ART MUSEUM

MEMBERS & PATRONS

JUST FOR MEMBERS

Members Save More! Additional Discount Days in the Shop at PAM TUESDAY, 12/2 – SUNDAY, 12/7

Fresh merchandise. Unique finds. Members-only perks! For one week, save an extra 10% (20% total!) on everything in our brand-new Museum store. It’s the perfect time to explore, shop, and enjoy the latest treasures at PAM!

Rothko Insider Event TAKE YOUR MEMBERSHIP TO THE NEXT LEVEL— ROTHKO AWAITS!

Onsite only; discount not available for online sales.

Give the Gift of Art!

Step into the world of Mark Rothko at an exclusive insider event with Sara Krajewski, Eichholz Senior Curator of Modern and Contemporary Art.

Looking for a gift that inspires, delights, and creates lasting memories? A Portland Art Museum membership is the perfect choice! Your gift provides free admission, exclusive benefits, and year-round membersonly opportunities—a gift everyone will enjoy.

This special program is reserved for Friendlevel members and above and provides a unique opportunity to go deeper into Rothko’s art and vision.

With instant email delivery, your gift is ready to share immediately. Make this holiday season unforgettable! Visit our website to send the perfect gift today!

MARCH 4, 2026, 5:30 P.M.

Not yet at the Friend level? Upgrade to unlock your exclusive invitation! If you currently have an Individual or Dual membership, simply call us at 503-276-4249 and we’ll help you upgrade your membership so you don’t miss out. Invitations to this event will be sent by email.

Mark Rothko (American, born Russia, 1903-1970), No.5 (Red, Black and BrownBlack) {Red, Black, Brown on Maroon}, 1963, Oil on canvas. Copyright © 1998 by Kate Rothko Prizel and Christopher Rothko/Artists Rights Society (ARS), New York.

MEMBER SERVICES

Visiting the Museum as a Member We can’t wait to welcome you to the NEW Rothko Pavilion! For expedited entry, please present your digital membership card at admission. Members receive FREE admission to the Museum (a savings of $27.50 per ticket!) Current membership card and/or photo identification are required for entry on the day of your visit. Please note that member tickets are limited to the individual(s) listed on your membership cards.

Annual Automatic Renewal and Monthly Installment Plans Available Prefer to pay monthly or have your membership renewed automatically? Our monthly installment and automatic renewal options are available to make joining or renewing easier than ever. Call us at 503-276-4249 to sign up to have your membership renewed automatically or set up payments in installments.

Don’t Miss Out on Member Events, Benefits and More! Learn about new exhibitions, last-minute ticket offers, member events, pop-up programs, film screenings, artist and curator talks, and more–all of which are available at free or reduced cost to members! The best way to keep up-to-date on new events and member opportunities is by reading our regular Member Highlights emails. To update your email address with us, call Membership at 503-276-4249 or email membership@pam.org.

Need to update your contact info or have questions about your membership status? We are here to help! HOURS: Monday – Friday, 9 a.m. – 5 p.m. PHONE: 503-276-4249 EMAIL: membership@pam.org FAQS: portlandartmuseum.org/faqs

PATRON SOCIETY

FEATURED PATRON EXPERIENCES

• Exclusive Patron exhibition openings and viewing opportunities

2025 Gala

• First access to special events such as the Annual Gala, and PAM CUT special events

FRIDAY, DECEMBER 12, 2025

We are deeply grateful for our Patron Society members, whose generosity strengthens the entire Museum community. As a Patron, you’ll be welcomed into a circle of arts champions and invited to share in special opportunities throughout the year. Join today and experience these connections through:

• Private guided tours of current exhibitions • Art-focused travel opportunities with fellow Patrons, from local gems to global destinations • Complimentary Art Council memberships for Guarantor level and above

Interested in joining the Patron Society? Here are a few easy ways to join or upgrade your membership today: • Contact Megan Tomson, Patron & Annual Giving Officer, by phone at 503-276-4298 or by email at megan.tomson@pam.org • Visit our website at pam.to/patron • Mail a check to the attention of Development Office (Please put “Patron Society membership” in the memo line.)

Join us in celebrating the transformative power of art and this new era of the Portland Art Museum. On December 12, the Portland Art Museum Gala marks the first black-tie evening inside the newly transformed campus. All proceeds support our inaugural year of exhibitions—more than 30 groundbreaking shows spanning global icons and local voices— as well as a robust visiting artists series. The evening includes cocktails in the Rothko Pavilion, a seated dinner, and a special program honoring visionary artist Carrie Mae Weems, and the enduring legacy of Mark Rothko and his family. Tickets for the event may no longer be available by the time this publication reaches homes, due to high demand and limited availability. For more information, visit portlandartmuseum.org/ gala or contact Harper Brokaw-Falbo at harper. brokaw-falbo@pam.org or 503-276-4297.

PATRON PREVIEW & RECEPTION

David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation THURSDAY, FEBRUARY 13, 2026

Be among the first to see this major retrospective of one of the most influential artists of our time at an exclusive reception for Patrons. The exhibition will showcase more than 100 colorful prints, collages, and photographic and iPad drawings in a variety of media spanning six decades.

• Ask about monthly installment options

Thank You to our Patron Society Members!

TOP: Carrie Mae Weems (American, born 1953), Untitled (Woman with daughter), from the series Kitchen Table, 1990, gelatin silver prints, Gift of the Contemporary Art Council, © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York., 94.19a-c; RIGHT: David Hockney, Self Portrait IV, 25th March 2012, iPad drawing printed on paper. Edition of 25. © David Hockney; BOTTOM: Mark Rothko painting in his 53rd St. New York Studio c. 1953. Photographer: Henry Elkin. PORTLAND ART MUSEUM

PORTLAND ART MUSEUM

LEFT to RIGHT, TOP to BOTTOM: Amy Pellegrin, Brooklyn Snow; Karie Burch, Barbara Brady; Megan Leslie, Dejana Peric; Holly Levow; Jordan Schnitzer, Renata Baranow; Greg and Cathy Tibbles; Susan Winkler, Pat Green, Cyndy Maletis, Amy Pellegrin, Jin Park, and Leona Green; Kim Tardie, Mark Anderson, Robert Trotman, John Goodwin; Ivan Gold, Nell Warren, Kimberly Gronquist.

LEFT to RIGHT, TOP to BOTTOM: Andrea Pastega Vloon, Angela Snow, Cheryl Tonkin; John Miller, Janet Geary, Alix Meier Goodman; Sun Young Park, Oved Valadez, Peter Cho; Jim Crumpacker, Anne Crumpacker, Thom Brown; William Gilliland, Marcy Schwartz, Daniel Bergsvik, Julia Dolan; Kimberly Gronquist, Karie Burch; Linda Mantel, Sara Krajewski; Neville Wellman, Romani Lay, Meredith Hamm, David Cipriano, Mark Williams.

PORTLAND ART MUSEUM

BUILDING OUR MUSEUM’S FUTURE We’ve just completed a once-in-a-generation campaign that marks a new era for the Portland Art Museum. Thanks to the extraordinary generosity of our community, the Connection Campaign achieved transformative milestones—securing record support, completing major capital improvements, and expanding our impact in powerful new ways. But our work is far from over. As we look to the future, we want to grow even stronger—and there are meaningful ways each of us can help make that happen.

46 PORTLAND ART MUSEUM

A vibrant future for the Portland Art Museum depends on two things: consistent annual support and visionary, long-term investments. Together, they ensure that the Museum’s core programs—and the people who bring them to life—remain resilient, inclusive, and innovative for years to come. Planned gifts continue to make a remarkable impact on the Museum. These forward-looking commitments—through wills, trusts, retirement accounts, and other tools—help secure the Museum’s future while offering you the opportunity to create a lasting legacy.

We also know that a healthy endowment is critical to weathering the unknown and sustaining our mission over time. That’s why we’re still actively raising funds to grow and fully endow key positions and initiatives— including the Curator of Native American Art, the Black Art and Experiences Endowment, and our general endowment. These longterm investments are essential to keeping the Museum resilient, adaptive, and artistically ambitious, no matter what the future holds. As a member of our Museum community, your support—both now and into the future—helps ensure that art remains accessible, relevant, and transformative for all. Whether through an annual gift, a planned gift, or an investment in the endowment, you have the power to shape what comes next.

TOP: Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings at the 2025 Fine Print Fair; TOP RIGHT: Joseph Mallord William Turner (English, 1775-1851), Landscape, 1820, ink wash on paper. Gift of Miss Mary Forbush Failing, 34.1; BOTTOM LEFT: Wendy Red Star (Apsa’alooke and American, born 1981), Stands to the Sun, from the series Thunder Up Above, 2011, pigment-based inkjet print. Gift of Loren G. Lipson, M.D., © Wendy Red Star, 2017.25.3; Kathleen Ash-Milby, Curator of Native American Art speaking at the Venice Biennale, 2024.

MORE WAYS TO SUPPORT THE MUSEUM Giving Season Is Here Your generosity makes everything we do possible—from presenting thought-provoking exhibitions to delivering education programs that inspire thousands of learners each year. As we enter this season of gratitude and giving, we invite you to consider all the ways you can support the Museum you love.

• Donor Advised Funds (DAFs): Using a donor advised fund allows you to give during your lifetime, and ensures your legacy of giving continues even longer. If you already use a donor advised fund, giving a gift to the Museum is a simple and impactful way to support art and culture in our community.

• Gifts from your IRA: If you are 70-1/2 or older, you can give directly from your IRA. This type of gift can count toward your required minimum distribution and may lower your taxable income.

• Workplace Giving: Many employers will match your gift, sometimes doubling or even tripling its impact. Check with your HR department to see if your company participates.

• Gifts of Stock: Donating stock can be a tax-wise way to give. You may avoid paying capital gains tax and still receive a charitable deduction for the fair market value of the stock.

• Planned Gifts: Including the Museum in your will or estate plans helps ensure that future generations can experience the power of art.

Derrick Adams (American, born 1970), Boy on Swan Float, 2020, color woodblock and screenprint with fabric collage on Rives BFK paper, Museum Purchase: Funds provided by Greg and Cathy Tibbles, © Derrick Adams, 2020.40.1

Every gift—big or small—helps the Portland Art Museum grow, thrive, and inspire. We hope you’ll explore these giving options and find the one that’s right for you and your family this season. For more information, please contact Susan Whittaker, Associate Director of Development, at 503-276-4303 or susan.whittaker@pam.org, or visit our website at pam.giftlegacy.com. Thank you for supporting art that unites and empowers our entire community.

PORTLAND ART MUSEUM

RENTAL SALES GALLERY Located just behind the Museum at Southwest 10th Avenue and Jefferson Street, our Rental Sales Gallery (RSG) offers a great opportunity to fill your walls with stunning, original fine art, through purchase or our rental program. With prices starting from less than $60 for a threemonth rental, this is one of the most accessible ways to have beautiful, unique artworks in your home or business. RSG also offers consultation, delivery, and installation, and every transaction supports our artists and the Portland Art Museum. Visit the Gallery online at rentalsalesgallery.com or contact us at 503-224-0674 or rentalsales@ pam.org to find out more. Tuesday–Saturday, 11 a.m. to 5 p.m. Walk-ins are welcome! WINTER MEMBER ARTIST SHOW OPENS FRIDAY, DECEMBER 5.

PAM VENUES When you host your event at the Portland Art Museum, you are supporting the arts in Portland! Whether you’re planning a wedding, a corporate offsite with state-of-the-art technology, or a gala for 500 guests, PAM Venues offers a range of spaces to match your vision. The newly expanded Mark Rothko Pavilion, opening in January 2026, adds striking new options including the West Plaza for outdoor receptions and the Community Commons for dramatic, light-filled gatherings. Add-ons like the 2nd Floor Terrace and 4th Floor overlook provide unique photo opportunities or elevated views. Trusted favorites such as the Kridel Grand Ballroom and Fields Sunken Ballroom continue to host Portland’s most memorable weddings, fundraisers, and celebrations. Whether hosting colleagues, celebrating a milestone, or welcoming donors, your guests

PORTLAND ART MUSEUM

will be surrounded by the creative energy of one of Portland’s most iconic institutions. Let art spark conversation, connection, and inspiration at your next event. Contact the PAM Venues team at events@pam.org to start planning.

Visit portlandartmuseum.org/pam-venues

EXHIBITION SCHEDULE Opening

PROGRAMS

For the latest on public programs, pop-up happenings, and ongoing offerings, subscribe to our email newsletter and check our online calendar at portlandartmuseum.org/calendar.

INAUGURAL EXHIBITIONS Learn about the exciting exhibitions in our transformed campus on pages 20–27.

CONTACTS

Continuing

HOURS

GLOBAL ICONS, LOCAL SPOTLIGHT: CONTEMPORARY ART FROM THE COLLECTIONS OF JORDAN D. SCHNITZER Through January 11, 2026

Please check portlandartmuseum.org for the most up-to-date information on hours and admission rates.

YOSHIDA CHIZUKO Through January 4, 2026

General Information Membership Information

Tuesday–Sunday, 10 a.m. – 5 p.m.

ADMISSION

Members/Children (17 and younger)* free Adults $27.50 Seniors (62 and older) $24.50 Students (18 and older with ID) $22.50

Upcoming DAVID HOCKNEY: WORKS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION February 14 – July 26, 2026

*Children 14 and younger must be accompanied by an adult. Tickets available online.

THE STARS WE DO NOT SEE: AUSTRALIAN INDIGENOUS ART September 5, 2026 – January 3, 2027

1219 SW PARK AVENUE

503-226-2811 503-276-4249

PORTLAND, OREGON 97205

FREE & REDUCED

ADMISSION Every Day

Children ages 17 and younger are free. Free First Thursdays – Museum admission and Tomorrow Theater programs are free on the first Thursday of every month with extended Museum hours to 7 p.m. Oregon Trail Card holders can purchase up to two admissions for $5. Blue Star Museums Program – Offers free admission to the nation’s active-duty military personnel and their families. The Museum also offers free admission for veterans. Multnomah County Library Discovery Pass – Two free adult admissions by using a Multnomah County Library account to reserve. College Pass – $25 for a full year of free admission for college students. Register online, then present your student ID at entry. Additional support for Museum access programs provided by The Lamb-Baldwin Foundation, Nancy Lematta, Miller Family Foundation, The Gordon D. Sondland and Katherine J. Durant Foundation, Joseph E. Weston Public Foundation of Oregon Community Foundation, and Art Bridges Foundation. One-third of all visitors enjoy the Museum for free or at a highly reduced admission price.

PORTLANDARTMUSEUM.ORG

For more than a century, the Portland Art Museum has grown alongside our community, sharing art that inspires curiosity, connection, and reflection. Each exhibition and program invites us to see the world through new perspectives and discover the many ways creativity enriches our lives. As we look ahead, we are excited to continue building a Museum that belongs to everyone—a place where the stories we tell, and the art we share, strengthen the fabric of our community.

THANK YOU FOR BEING PART OF THIS JOURNEY AND PART OF OUR MUSEUM FAMILY. 1219 SW PARK AVENUE, PORTLAND, OREGON 97205-2430