David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation
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
42 MEMBERS & PATRONS
Rental Sales Gallery / PAM Venues
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.
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,
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
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.
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.
The campaign’s story began in 2013 with early gifts of confidence from Arlene Schnitzer, Nani
Together
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.
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.
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.
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.
The campaign’s capital goal was completed thanks to the leadership of Gail and Fred
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.
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 Portland Art Museum extends its deepest gratitude to every donor, member, volunteer, and staff member who made this historic achievement possible.
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
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.
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.
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.
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.
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
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.”
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.
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
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.
$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
The Portland Art Museum gratefully acknowledges the leadership donors of the Connection Campaign whose generous support made our transformation a reality.
$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)
$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.
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
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
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)
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
1. Silver Family Youth and Community Gallery
2. Lana and Chris Finley Learning Studio
3. Blair Family Gallery
LEVEL 1
4. Lematta Foundation Grand Staircase
5. Marvin, Rena, and Cheryl Tonkin Family Staircase
6. Lila Goodman Gallery Concourse
7. Bank of America Visitor Services Area
8. Ed Cauduro and Dane Nelson South Pavilion Elevator
9. Jin & Julieann Park Family Welcome Area
10. Grace Rose Serbu Cafe & Shop
11. Swigert Warren Community Commons
12. Thelma Johnson Streat Black Art and Experiences Gallery
James Fleming Crumpacker & Catherine Crumpacker Stafford
EXTERIOR
24. Pat and Trudy Ritz Passageway Connecting Community with Art
25. Brian Ferriso East Plaza Dedicated by the Andrews and Meier Families
26. James H. Winkler East Entrance
27. Barbara Bours Brady Bike Bay
28. Tim and Mary Boyle West Plaza
29. The Mark Rothko Pavilion
Benches
In Loving Memory of Chris Neilsen
The Zidell Family
Priscilla Bernard Wieden in Loving Memory of Dan Wieden
Christine & David Vernier
Hannah Rose McNeely & Jeffrey Thomas, her godfather, love art! Have a seat and muse about PAM.
BEHIND THE SCENES
The journey of the art from deinstallation to reinstallation
BY THE PORTLAND ART MUSEUM’S COLLECTIONS TEAM
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.
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.
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.
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
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.
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
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.
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.
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.
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.
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
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.
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.
Word in Flower: Arts of Buddhism
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.
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.
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.
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.
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.
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.
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.
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.
Mystic Mountain: Mount Hood in Art
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.
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.
Do I Look Like a Lady? (Comedians and Singers) (2016)
A video installation by Mickalene Thomas from the collection, accompanied by an artistdesigned tableau.
From the Collection: Prints by Black Artists
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.
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.
Here We Are
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.
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.
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.
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.
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.
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.
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
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.
Paul Harris: Shut-In Suite, 1969–1970
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.
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.
NEW MEDIA
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.
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
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.
Gift of the Ray McSavaney Archive. Portland Art Museum, Portland, Oregon,
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.
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.
Miles Greenberg, Landscape with Figures, 2022, Marina Abramovic Institute, Royal Theatre Carre, Amsterdam, Netherlands, Courtesy of the artist, Photo by Joy Hansson.
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.
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
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
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.
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
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.
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.
Materials experts
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.
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.
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
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’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.
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.
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.
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.
GLOBAL ICONS, LOCAL SPOTLIGHT Contemporary Art from the Collections of Jordan D. Schnitzer
THROUGH JANUARY 11, 2026
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.
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.
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
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.
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
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 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.
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.
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.
UNBOUND
29, 2026
Stay tuned to portlandartmuseum. org/cinema-unbound-awards for details.
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.
MEMBERS & PATRONS
JUST FOR MEMBERS
Rothko Insider Event
TAKE YOUR MEMBERSHIP TO THE NEXT LEVEL— ROTHKO AWAITS!
MARCH 4, 2026, 5:30 P.M.
Step into the world of Mark Rothko at an exclusive insider event with Sara Krajewski, Eichholz Senior Curator of Modern and Contemporary Art.
This special program is reserved for Friendlevel members and above and provides a unique opportunity to go deeper into Rothko’s art and vision.
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.
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!
Onsite only; discount not available for online sales.
Give the Gift of 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.
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!
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
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:
• Exclusive Patron exhibition openings and viewing opportunities
• First access to special events such as the Annual Gala, and PAM CUT special events
• 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.)
• Ask about monthly installment options
Thank You to our Patron Society Members!
FEATURED PATRON EXPERIENCES
2025 Gala
FRIDAY, DECEMBER 12, 2025
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.
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.
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.
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.
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
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.
• 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.
• 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.
• 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.
• 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.
• Planned Gifts: Including the Museum in your will or estate plans helps ensure that future generations can experience the power of art.
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.
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
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
INAUGURAL EXHIBITIONS
Learn about the exciting exhibitions in our transformed campus on pages 20–27.
Continuing
GLOBAL ICONS, LOCAL SPOTLIGHT: CONTEMPORARY ART FROM THE COLLECTIONS OF JORDAN D. SCHNITZER
Through January 11, 2026
YOSHIDA CHIZUKO
Through January 4, 2026
Upcoming
DAVID HOCKNEY: WORKS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION
February 14 – July 26, 2026
THE STARS WE DO NOT SEE: AUSTRALIAN INDIGENOUS ART
September 5, 2026 – January 3, 2027
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.
CONTACTS
General Information
Membership Information
HOURS
503-226-2811
503-276-4249
Tuesday–Sunday, 10 a.m. – 5 p.m.
Please check portlandartmuseum.org for the most up-to-date information on hours and admission rates.
ADMISSION
Members/Children (17 and younger)* free
Adults
Seniors (62 and older)
Students (18 and older with ID)
$27.50
$24.50
$22.50
*Children 14 and younger must be accompanied by an adult.
Tickets available online.
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.
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.
