SPRING 2017
rodin constructing identity rothko pavilion
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FROM THE DIRECTOR
21 NORTHWEST FILM CENTER
3 EXHIBITIONS & INSTALLATIONS
PIFF XL
Magic & Loss
Rodin: The Human Experience
Krzysztof Kieślowski
Constructing Identity
Summer Film Camps
Ghissi Alterpiece
Fazal Sheikh
25 MEMBERS & PATRONS
American Photographs
Patron Exclusives
Brenda Mallory and Luzene Hill
Just for Members
Around the Galleries
Estate Planning
John Yeon
15 NEWS & NOTEWORTHY
29 PROGRAMS & ACTIVITIES
Exhibition Programs
Rothko Pavilion
Ongoing Programs
Year in Review
Public Tours
New Sculpture
35 GIFTS & GATHERINGS 44 PORTLAND FINE PRINT FAIR 45 CALENDAR
PORTAL, VOL. 6, ISSUE 1
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 serve the public by providing access to art of enduring quality, by educating a diverse audience about art, and by collecting and preserving a wide range of art for the enrichment of present and future generations. COVER/OPPOSITE: Auguste Rodin (French, 1840–1917), Fallen Caryatid with Urn, modeled 1883, enlarged 1911-17; Musée Rodin cast 4 in 1982; Bronze; Coubertin Foundry; 45 1/4 x 36 3/4 x 31 1/8 in. Lent by Iris Cantor; Auguste Rodin (French, 1840–1917), The Three Shades (detail), modeled 1880-1904; Musée Rodin cast 10 in 1981; Bronze; Coubertin Foundry; 38 1/4 x 37 1/2 x 20 1/2 in. Lent by Iris Cantor; Nelson Stevens (American, born 1938), Spirit Sister, 2013, serigraph, © Nelson Stevens. Licensed by the Experimental Printmaking Institute, Easton, PA; Francescuccio Ghissi (Italian, active 1359-1374). The Resurrection of Drusiana (detail), ca. 1370. Tempera on wood. Gift of the Samuel H. Kress Foundation.
FROM THE DIRECTOR In 1994, Mickalene Thomas visited the Portland Art Museum to see an exhibition by the photographer Carrie Mae Weems. For the young Portland woman, seeing Weems’ familiar portraits of African-American life was transformative. “It was one of the first times I saw a contemporary artist’s work, of a woman of color in a museum of that caliber,” she told Time Out Hong Kong recently. “From that point, I knew that’s what I wanted to do.” Now a multidisciplinary artist renowned for her complex work addressing race and sexuality, Mickalene Thomas will return to speak at the Museum as one of more than 80 artists featured in this spring’s Constructing Identity: Petrucci Family Foundation Collection of African-American Art. In this special exhibition and in public programs including artist conversations, jazz, poetry, film, and more, we explore the power of art making to shape how African Americans both see themselves and are seen by the world. Connecting people with art that can change their perspective is at the core of the Museum’s mission. This spring, Rodin: The Human Experience— Selections from the Iris and B. Gerald Cantor Collections offers more than 50 bronze sculptures from the remarkable Cantor collections. There is no substitute for seeing these works in person to understand the groundbreaking fascination with the expression and movement of the human figure that made Auguste Rodin the first truly modern sculptor. As we find new ways to connect the community with the Museum, we are launching a major expansion project that will connect our two historic buildings and transform our campus while honoring one of the most significant artists ever to have come out of Portland. Thanks to a very generous $8 million lead gift from a donor who wished to remain anonymous, we were able to form a partnership with artist Mark Rothko’s children, Christopher Rothko and Kate Rothko Prizel, who will lend the Museum major paintings by Mark Rothko from their private collection, individually in rotation over the course of the next two decades. The expansion will feature a new glass-walled building, to be named the Rothko Pavilion, in recognition of the artist’s legacy in Portland—his home as a youth after immigrating from Latvia—and at the Museum, where he took art classes as a teenager and where he received his first solo exhibition. You can learn more about the exciting Rothko Pavilion plans inside this issue, and we’ll have more updates in the coming months. But as we start a new year, I just want to take this moment to thank you for joining and supporting our vital work. The transformative power of art has never been more important, and we look forward to sharing it with you.
Brian J. Ferriso The Marilyn H. and Dr. Robert B. Pamplin Jr. Director Chief Curator Janet Geary, Board of Trustee Chairman, and Brian Ferriso in front of the building expansion model.
EXHIBITIONS & INSTALLATIONS
RODIN
THE HUMAN EXPERIENCE
Selections from the Iris and B. Gerald Cantor Collections
JANUARY 21 – APRIL 16, 2017
This spring, the Museum is pleased to present Rodin: The Human Experience—Selections from the Iris and B. Gerald Cantor Collections, an exhibition of 52 bronzes by the groundbreaking French sculptor Auguste Rodin. The exhibition is being staged in Portland to commemorate the 100th anniversary of the artist’s death. One of the greatest artists of all time, Auguste Rodin (1840-1917) revolutionized the art of sculpture. While his works always remained faithful to nature, he departed from traditional practice in seeking to reveal the creative process. This exhibition of stunning bronzes demonstrates Rodin’s particular passion for modeling the human form in clay, the medium in which his hand and mind are most directly evidenced. The selected bronzes in the show represent the major achievements of Rodin’s long career. They include powerful studies for The Burghers of Calais, as well as works derived from his masterpiece, The Gates of Hell. Others, such as The Night (Double Figure), demonstrate his experimentation with assemblage. Rodin: The Human Experience also features sculptures such as Monumental Torso of the Walking Man, which demonstrate Rodin’s admiration for Michelangelo, and Dance Movement D, which speaks to his interest in understanding how the body moved. The exhibition is especially rich in portraiture. Included are Rodin’s famous depictions of the writers Victor Hugo and
Honoré de Balzac; the composer Gustav Mahler; the artist Claude Lorraine; one of his favorite dancers, Hanako; and his portrayal of The Creator, which is probably a self-portrait. Rodin’s ability to use bronze to represent living flesh and his interest in expressing extreme psychological states were highly influential upon younger artists, both in Europe and America. Rodin: The Human Experience reveals why the artist is considered the crucial link between traditional and modern sculpture. The Museum is presenting a variety of public programs and tours in conjunction with the exhibition, including an opening lecture by exhibition curator Judith Sobol, Executive Director of the Iris & B. Gerald Cantor Foundation. This exhibition has been organized and made possible by the Iris & B. Gerald Cantor Foundation. Host curated by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art. LEAD SPONSORS: Laura S. Meier, Andrée H. Stevens; MAJOR SPONSORS: Walter Clay Hill and Family Foundation, Ameriprise Financial and Columbia Threadneedle, Clark Foundation, Exhibition Series Sponsors; SPONSORS: Robert Lehman Foundation; SUPPORTERS: CHEHALEM, The Jackson Foundation, Ann Flowerree, and Judith Wyss. (List as of December 20, 2016).
Auguste Rodin (French, 1840–1917), The Three Shades, modeled 1880-1904; Musée Rodin cast 10 in 1981; Bronze; Coubertin Foundry; 38 1/4 x 37 1/2 x 20 1/2 in. Lent by Iris Cantor; Auguste Rodin (French, 1840–1917), Ecclesiastes, modeled 1898; Musée Rodin cast II/IV in 1995; Bronze; Godard Foundry; 10 1/2 x 10 1/4 x 11 3/4 in. Lent by Iris & B. Gerald Cantor Foundation; Auguste Rodin (French, 1840–1917), Bust of Victor Hugo (detail), modeled 1883; cast number unknown; Bronze; foundry unknown, 17 x 10 1/4 x 10 3/4 in. Lent by Iris Cantor. PORTLAND ART MUSEUM 5
CONSTRUCTING IDENTITY Petrucci Family Foundation Collection of African-American Art JANUARY 28 – JUNE 18, 2017
In 21st-century America, questions of race and identity are being explored as never before. This exploration has prompted many artists of color to investigate what constitutes identity, community, and the idea of a so-called postracial society. Constructing Identity: Petrucci Family Foundation Collection of AfricanAmerican Art brings together paintings, sculpture, prints, and drawings by prominent contemporary African-American artists along with a selection of historical works from the 1930s, 1940s, and Civil Rights era. Drawing from the Petrucci Family Foundation collection, Constructing Identity features
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works by more than 80 artists, including Henry Ossawa Tanner, Elizabeth Catlett, Romare Bearden, Norman Lewis, Faith Ringgold, Radcliffe Bailey, Kara Walker, and Mickalene Thomas as well as John Biggers, Barbara Bullock, David Driskell, Joyce Scott, and Sonya Clark, among others. The exhibition brings awareness to the contributions of artists of color, whose work is often historically underrepresented in museums and galleries, to foster a more complete understanding. Constructing Identity includes works by 11 artists whose artwork is also held in the collection of the recently opened National Museum
of African American History and Culture in Washington, D.C., as well as Northwest artists such as Portland painter Arvie Smith (whose own APEX exhibition has been extended through March 12). As part of a growing and more thoughtful dialogue about how art reflects the experiences of African Americans, Constructing Identity visually represents a cross-section of themes that speak to all of us in voices from communities of color in America. “Historically, and within African-American communities, a central question is how do we
best represent ourselves—and how do these representations come together to form an ever-changing statement of identity?” asks Berrisford Boothe, curator for the Petrucci Family Foundation Collection of AfricanAmerican Art. “We offer this art to present a more complete and informed view of African Americans as a people and reveal the dynamic nature, narratives, and impulses that constitute our full humanity.” Founded in 2006, the Petrucci Family Foundation aims to support education and create opportunity for Americans at every stage of and station in life. Its collection of AfricanAmerican art is a targeted initiative established to focus on, collect, conserve, and exhibit an inspiring range of works, thereby confirming African-American art’s essential place in the history and discourse of American art. The collection celebrates the beauty, compassion,
strength, and persistent will within the culture of African Americans. “We want to collect master works that define humanity, that show characters in their full, most authentic human moments,” Boothe says. Constructing Identity is accompanied by a catalog, an artist panel discussion and artist talks on February 11, and additional programs and community partnerships. For more information and updates, visit portlandartmuseum.org.
Organized by Portland Art Museum and guest curated by Berrisford Boothe, Professor of Art at Lehigh University. SPONSORS: Louis and Virginia Clemente Foundation, The Boeing Company, and Exhibition Series Sponsors; PROMOTIONAL PARTNER: (List as of December 20, 2016)
LEFT: Avel de Knight (American, 1923–1995), The Rehearsal, 1955, oil on canvas, © Estate of Avel de Knight; MIDDLE: Nelson Stevens (American, born 1938), Spirit Sister, 2013, serigraph, © Nelson Stevens. Licensed by the Experimental Printmaking Institute, Easton, PA; TOP: Donald E. Camp (American, born 1940), Man Who Feels Shape (David Stephens), 2006, photographic monoprint, © Donald E. Camp.
PORTLAND ART MUSEUM 7
REUNITED Francescuccio Ghissi’s St. John Altarpiece MARCH 25 – JULY 9, 2017
Reunited: Francescuccio Ghissi’s St. John Altarpiece brings together eight dispersed 14th-century paintings—as well as a re-created missing panel—so that the altarpiece can be seen and appreciated as one magnificent work
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of art. This reunion offers visitors a special opportunity to see the Museum’s Resurrection of Drusiana in its original context in the upper left corner. Donated by the Samuel H. Kress Foundation in 1961, the painting is one of the finest Early Italian narrative scenes in the Pacific Northwest. Ghissi worked in the Marche, the Italian region between the Apennine Mountains and the Adriatic Sea. He made the St. John Altarpiece in the 1370s following a typical format for
chapels and small churches, with a central image of the Crucifixion flanked by smaller narrative scenes. While the original location remains a mystery, the eight episodes from the life of St. John the Evangelist indicate that he was most likely the patron of the church. True to the spirit of the burgeoning Renaissance, each scene is depicted with great clarity, drama, and humanity, and the ensemble demonstrates that Ghissi was consistently a masterful storyteller. During the 19th or early 20th century, the
altarpiece was dismantled and sawed apart because individual panels could be sold more lucratively to art dealers and collectors. In time, all of the known elements entered U.S. museums. Because the ninth painting has never been found, Dutch conservation specialist Charlotte Caspers was employed to re-create it using 14th-century materials and techniques (illustrated in the lower right corner). A video of the process will be shown along with an extensive display documenting all of the
Francescuccio Ghissi (Italian, active from 1345-1374), St. John Altarpiece, 1370s, tempera and gold leaf on panel, including paintings from the Portland Art Museum, the North Carolina Museum of Art, Raleigh; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago.
pigments and other materials used. The bright, gleaming new panel would look out of place alongside works that had aged for centuries, so Duke University mathematicians developed algorithms to age Caspers’ work digitally using the crack patterns and faded colors of the original panels as a guide. A photograph of the virtually aged ninth panel will be installed to complete the St. John Altarpiece. The Duke team also used Caspers’ panel to calculate algorithms to reverse the
effect of aging on the original panels. The resulting images will be displayed to give visitors an impression of the altarpiece as it would have looked in the 14th century. Organized by the North Carolina Museum of Art, Raleigh, North Carolina. Curated in Portland by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.
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FAZAL SHEIKH: THE ERASURE TRILOGY MARCH 11 – JULY 23, 2017
Between 2010 and 2013, Fazal Sheikh conducted a sustained photographic exploration of Israel and the West Bank, delving into the region markedly changed by the 1948 Arab-Israeli War. The resulting project acknowledges the complex legacy of the conflict, and charts the profound ramifications of upheaval and displacement on Bedouins, Israelis, and Palestinians. Memory Trace, Desert Bloom, and Independence/Nakba, the three projects that form The Erasure Trilogy, have been shown separately in East Jerusalem, Ramallah, New York, and Philadelphia, and will be exhibited together for the first time at the Portland Art Museum. Although The Erasure Trilogy provides no easy answers, it respectfully explores multiple aspects of a complex war. Through socially concerned portraiture and landscape imagery, Memory Trace reveals the destruction—sometimes still visible, sometimes hidden intentionally or by time—resulting from the conflict; Desert Bloom, a series of aerial photographs, depicts the transformation of the Negev (Nakba in Arabic) desert region through afforestation, mining, and Bedouin relocation; Independence/ Nakba, a series of 130 portraits, pairs Israelis with Palestinians in 65 diptychs that encourage consideration of relationships both forged
and divided by war. Together, the trilogy demonstrates the results of the sociopolitical upheaval that continues to shape the region. Sheikh explains, “Rather than leveling accusations at either side, my wish has been to try and address the wound. Because this is such a taboo subject within the collective psyche, I want to mourn that loss and consider what that rupture has meant.” The Erasure Trilogy is just one aspect of Sheikh’s career-long study of the complexities of war and its effects on humanity. He has photographed displaced peoples in locations including Afghanistan, Brazil, India, Kenya, Pakistan, and Tanzania. He advocates for a sustained and meaningful photographic assessment of a region and its people, with the portrait remaining at the core of his practice. His empathetic approach to the human condition is internationally recognized. A student of renowned photographer Emmet Gowin at Princeton University, Sheikh was named a MacArthur Fellow in 2005 and a Guggenheim Fellow in 2012, and his photographs have been exhibited throughout the world. Sheikh will speak about The Erasure Trilogy in the spring as part of the Museum’s Arnold Newman Distinguished Lecture series.
AMERICAN PHOTOGRAPHS FEBRUARY 11 – MAY 28, 2017
“The humor, the sadness, the EVERYTHINGness and American-ness of these pictures!” Jack Kerouac’s introduction to Robert Frank’s 1957 book The Americans captures the spirit of Frank’s groundbreaking images and harnesses the unrelenting enthusiasm for photographs depicting diverse aspects of American culture. Works by Diane Arbus, Richard Avedon, Harry Callahan, and Edward Weston, as well as a significant selection of Frank’s photographs from The Americans, reveal the many ways artists used the camera to chart 20th-century society in the United States, from the Great Depression to the Civil Rights era and beyond. Organized by the Portland Art Museum and curated by Julia Dolan, Ph.D., The Minor White Curator of Photography.
LEFT: Fazal Sheikh, from the Independence/Nakba series. TOP: Walker Evans (American, 1903-1975), Allie Mae Burroughs, Alabama Tenant Farmer Wife, 1936, gelatin silver print, private collection.
CENTER FOR CONTEMPORARY NATIVE ART
CONNECTING LINES Brenda Mallory and Luzene Hill MARCH 11 – OCTOBER 29, 2017
In 1838, the Cherokee people were forcibly and illegally removed from their homelands in the southeast United States and resettled in northeastern Oklahoma. Some remained in the original lands (either by returning or hiding during the roundup). Brenda Mallory (Cherokee Nation) and Luzene Hill (Eastern Band Cherokee) are members of these two bands who met during their 2015 Eiteljorg Fellowship. Their work is featured together in the fourth exhibition in the Museum’s Center for Contemporary Native Art. Luzene Hill’s work included in this exhibition will focus on issues of violence against Native women, female empowerment, and Native sovereignty—topics Hill has addressed in her past work. Through a series of new works, she is merging her interest in the history and materiality of cochineal dye with the epidemic of sexual violence against Native women. Cochineal dye is a natural red dye developed from the carminic acid that is produced by a
specific type of adult female insect in order to protect itself from predators. The dye has been used in Central America for coloring fabrics, yet was taken from and hoarded by the Spanish from the Mixtecs and others. Her large-scale hanging work of dyed silk and figural forms will also connect with the number 6956, which is the average number of Native women who report being sexually assaulted each year. Brenda Mallory’s installation titled Inevitable Outcomes in the Book of Recurring Chapters, created during her Eiteljorg Contemporary Art Fellowship in 2015, consists of tall shapes resembling charred timbers or skeletal plant stalks surrounded by colorful, lively, spore-like forms. The ruin-like floor pieces speak to what was left behind, but the resilience and hope shows in the spore-like forms that scatter across the walls and floor like blowing seeds. Her work is inspired by a rereading of Cherokee history, and addresses ideas of disruption, repair, and renewal.
This exhibition will include text panels written by each artist using English and Cherokee language, as well as maps providing more details about the homelands of the Cherokee people and their forced removal and displacement. The Center for Contemporary Native Art is supported by the Institute of Museum and Library Services and generous gifts from Mr. Mark J. and Dr. Jennifer Miller, Taffy Gould, the Exhibition Series Sponsors, and Anonymous.
LEFT: Luzene Hill working in her studio; TOP: Brenda Mallory working in her studio.
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AROUND THE GALLERIES WITH VIOLET TCHALAKOV
Violet Tchalakov is the Retail Floor Supervisor at the Museum Store. She holds a fine arts degree from Eastern Washington University and an abiding passion for printmaking. She has demonstrated her 1920s Kelsey Excelsior letterpress at Museum events and has an online shop offering custom designed and printed small paper goods. With a background in graphic design and printmaking, I’m often drawn to bold graphics, visual texture, and finding calm in chaos. A large facet of graphic design is visual communication—discovering stories through imagery and texture as opposed to the literal written word. As a printmaker, I’m used to clean lines, exact duplicates, and a very orderly process. In the Museum galleries, however, I’m often drawn to the exact opposite, balancing out my inner aesthetic dialogue. I’m fascinated with signage and how we as a society direct each other, so Mary Henry’s Vivo speaks to the design nerd in me. Minimal, efficient, and clear, this piece satisfies the deeprooted desire to bring order to the chaos. At the same time, Kenneth Noland’s No. One—a signature work in our Clement Greenberg Collection—appeals as a sort of free-flowing visual counterpoint. I’m drawn to Noland’s use of technique of applying paint to a nonprimed canvas, which allows the brushstrokes to
react with the canvas—both equally significant elements. The texture and color bleed work to create an imperfect geometry, underscoring the appeal of controlled chaos. In Jean-Michel Basquiat’s Busted Atlas 2, the artist’s own inner dialogue seems to be exposed through his hectic brushstrokes and brokenup text. Basquiat’s graffiti-driven style upends conventions of design and language, making a space for his powerful, enigmatic voice that had not been there before. I am constantly delighted and inspired by the ways artists play with visual iconography to find a deeper meaning. Patti Warashina’s Morton Salt Kiln has immediate visual appeal and humor, but the 1972 ceramic work also brought feminist heat to an icon of the “domestic sphere”—the Morton Salt Girl—while commenting on sexism in the art world. Likewise, Renée Zangara’s installation Napping with Monsters appears at first look to be a playful deconstruction of a domestic scene, replete with the tamed wildness of dogs and roses. But the title is a hint that Napping with Monsters is a surreal homage to a classic work on paper: Francisco de Goya’s 1799 etching The Sleep of Reason Produces Monsters. That familiar image—the artist asleep at his table, nocturnal owls and bats swirling in—has been seen as a defense of the Enlightenment at the cusp of the Romantic era. It is also an apt visual metaphor for the borderland between order and imagination, where so many of us find artistic inspiration.
Kenneth Noland No. One, 1958 SECOND FLOOR, JUBITZ CENTER
Renée Zangara Napping with Monsters, 2016 FOURTH FLOOR, HOFFMAN
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Renée Zangara (American, born 1954), Napping with Monsters, 2015, Oil paint and mixed-media, Lent by artist; Kenneth Noland (American, 1924-2010), No. One, 1958, acrylic on canvas, The Clement Greenberg Collection; Museum purchase: Funds Provided by Tom and Gretchen Holce, © Kenneth Noland/Managed by VAGA New York, N.Y.; Mary Henry (American, 1913–2009), Vivo, 1965, acrylic on canvas, Museum purchase: Funds provided by Wells Fargo donation proceeds, © Mary Henry Estate; Jean-Michel Basquiat (American, 1960-1988), Busted Atlas 2, 1982, courtesy of Dane Nelson, from the Ed Cauduro Estate, © 2016 The Estate of Jean-Michel Basquiat/ Artists Rights Society (ARS), New York / ProLitteris, Zürich; Patti Warashina (American, born 1940), Morton Salt Kiln, from the series Kilns, 1972, low-fire clay with underglaze and glaze, Gift of the estate of Michael H. Gold, © Patti Warashina.
Mary Henry Vivo, 1965 THIRD FLOOR, HOFFMAN
Patti Warashina Morton Salt Kiln, from the series Kilns, 1972,
Jean-Michel Basquiat Busted Atlas 2, 1982
FOURTH FLOOR, HOFFMAN
THIRD FLOOR, JUBITZ CENTER
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QUEST FOR BEAUTY The Architecture, Landscapes, and Collections of John Yeon MAY 13 – SEPTEMBER 3, 2017
This summer, the Museum presents a retrospective look at an Oregon original. Few architects have influenced so many facets of a region as John Yeon (1910–1994). Yeon is most widely remembered as an architect, in particular for a series of innovative houses—most prominently, the 1937 Aubrey Watzek House— that drew an international spotlight to regional modernism in the Pacific Northwest. Yet Yeon had equal vision and influence as a planner, conservationist, historic preservationist, urban activist, and, perhaps most of all, connoisseur of elegance and craft. Largely self taught, and working independently, Yeon designed distinctive buildings, shaped precedent-stretching gardens, and fought to preserve some of the Northwest’s most treasured vistas—the Columbia River Gorge, the Oregon Coast, Olympic National Park. In addition, he amassed a highly personal collection of Asian and European decorative arts. Developed with the University of Oregon’s John Yeon Center for Architecture and the
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Landscape, Quest for Beauty’s architecture and landscape section surveys two dozen projects and buildings designed between 1927 and the mid-‘50s, including a dynamic 1934 scheme for Timberline Lodge; Yeon’s inventive plywood houses of the late ‘30s; and the 1950 Shaw House, which elegantly anticipates the stylistic eclecticism of Postmodernism. The exhibition features original models and drawings, along with images by three of the midcentury’s greatest architectural photographers: Ezra Stoller, Maynard Parker, and Roger Sturtevant. Newly developed models and axonometric drawings will invite a greater understanding of Yeon’s careful siting of buildings and his cutting edge construction and sustainable design techniques. A high-definition timelapse video records the changing seasons at The Shire, the stunning 78-acre preserve in the Columbia River Gorge that Yeon saved from development and shaped into a unique landscape.
of Chinese furniture and ceramics, Korean ceramics, Japanese screen paintings, Japanese lacquers and ceramics, and Indian miniature paintings, as well as European decorative arts of the 18th century. He had a keen sense of quality and an eye for detail, and he moved effortlessly across scale and scope, finding delight equally in small objects and vast vistas. Together the buildings, landscapes, art, furniture, and objects showcase a restless eye and mind that could absorb the lessons of centuries of Asian and European art while developing an original vision for the Pacific Northwest. SPONSORS: Supported in part by the Oregon Heritage Commission, Rejuvenation, Dan Wieden and Priscilla Bernard Wieden, Superfab, Jo Whitsell, Lever Architecture, REX HILL, Nate Overmeyer and Sarah Dougher, and the Exhibition Series Sponsors ( List as of December 22, 2016)
Yeon’s brilliance as a collector will be on view in the Museum’s Asian galleries. His interests encompassed a wide range of materials from distant times and places, with concentrations
John Yeon in the courtyard of the Aubrey Watzek House.
NEWS & NOTEWORTHY
MUSEUM EXPANDS WITH THE ROTHKO PAVILION In October, the Portland Art Museum announced both an expansion that will unify its campus by connecting the Museum’s freestanding buildings and a 20-year partnership with the children of Mark Rothko, Christopher Rothko and Kate Rothko Prizel. The partnership includes the loan to the Museum of major paintings by Mark Rothko from their private collection; paintings will be loaned individually in rotation over the course of the next two decades. The expansion will feature a new glass-walled building, the Rothko Pavilion. The name recognizes the artist’s legacy in Portland—his home as a youth after immigrating from Latvia—and honors the Museum, where he took art classes as a teenager and where he received his first solo exhibition. The naming was made possible thanks to the $8 million lead gift from a donor who wished to remain anonymous so the pavilion could be named in Mark Rothko’s honor.
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The expansion project will seamlessly link the Museum to the surrounding Cultural District with a new central entrance flanked by greenery and sculpture that opens onto the South Park Blocks. The project will make the Museum more publicly accessible, while knitting the campus together with the surrounding neighborhood and reducing the Museum’s carbon footprint. Groundbreaking is scheduled to take place in 2018, with an expected completion date for the project in late 2020 or early 2021. The Museum is launching the public phase of a $75 million capital and endowment campaign to fund the project. To date, $22.975 million (46 percent) of the $50 million capital goal has been raised, and $5.8 million has been raised towards the $25 million endowment goal. “The partnership with the Rothko family is a homecoming of sorts, enabling us to share with the public major works from the family’s private collection, offer new insight into Rothko’s practice, and honor his legacy in the Pacific Northwest and the international arts
community,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director and Chief Curator. “We are deeply appreciative of Christopher and Kate’s extraordinary generosity in sharing these works with the people of Portland, the state of Oregon, and visitors to our city. Our plans for the Rothko Pavilion bring together the elements of the Portland Art Museum’s mission: to present exceptional works of art, develop exhibitions that take new perspectives on human creativity, and increase public accessibility and inclusion.” “Our family is thrilled to enter into this partnership with the Museum,” said Christopher Rothko. “Portland played a formative role in my father’s youth, and we are eager to share these works with the public and give Rothko a more active role in the vibrant cultural life of this city. Our hope is that visitors will take the time to pause and engage with each of these paintings, and to participate in the process of ‘slow looking’ that the Museum has championed.”
Designed by Chicago-based Vinci Hamp Architects, the three-story Rothko Pavilion will add roughly 30,000 square feet of space to the Museum and will be anchored by a glasswalled stair tower that will connect the Pavilion to the Museum’s Main Building. In addition to the Community Commons, the Pavilion will feature 9,840 square feet of new gallery space, including space for contemporary and media art, a gallery for work on paper, a new Education and Design Lab, and new space for the Museum’s library. The project will also create a third-floor sculpture garden that will offer visitors the chance to step outside and enjoy the Museum’s natural surroundings; the rooftop deck will also serve as a space for public programming and events. The paintings loaned by Christopher and Kate Rothko Prizel will be installed in light-controlled galleries adjacent to the new Rothko Pavilion. Architect Vinci Hamp’s previous work includes projects for the Art Institute of Chicago, the Norton Museum of Art in West Palm Beach, the Cooper Hewitt Smithsonian Design
Museum and the Neue Galerie in New York, the Milwaukee Art Museum, and the Oriental Institute, Smart Museum of Art, and The Arts Club in Chicago, among others. Also known for its historic preservation work, Vinci Hamp has completed award-winning projects that include the Illinois State Capitol, Chicago Tribune Tower, and Frank Lloyd Wright’s Home and Studio.
“As we look forward to the next 125 years, we look to strengthen our connection between the Museum and the public it serves,” said Janet Geary, Chairman of the Portland Art Museum Board of Trustees. “Our campaign will connect building to building, the Museum to the community, people to art and to each other.”
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Wordstock festival. In one day, the Museum welcomed 8,000 people—transforming the ballrooms and galleries into a celebration of the written word. The Museum continued to work closely with school districts and educators throughout the city and the region. In addition to providing professional development for 490 teachers, the Museum hosted The Heart of Portland, a Portland Public Schools K-12 arts showcase. Thanks to funding from the PGE Foundation, the Classroom Poster Project became a reality during the past school year, with more than 130 schools receiving posters featuring works from the permanent collection.
YEAR IN REVIEW From breathtaking, thought-provoking exhibitions to public programs and community partnerships that amplify and deepen visitors’ experiences with art, the 2016 fiscal year was a success by all accounts. This past year the Museum presented more than 30 exhibitions and 630 films that that celebrated the École des Beaux-Arts, showcased some of the finest landscape paintings in the history of art from the renowned collection of Paul Allen, reflected on the legacy of legendary photographer Edward Curtis, discovered Native fashion, and traveled the Northwest and the globe through film. Last year the Museum connected more people to art and film than ever before through education and public programs. More than 45,000 individuals participated in public programs and tours, including nearly 25,000 students. Additionally, the Northwest Film Center hosted more than 200 visiting artists and welcomed more than 3,000 high school students to free Global Classroom screenings. Community partnerships brought fresh perspectives and vital context to exhibitions and installations, while also welcoming new audiences. These included partnering with
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Portland’s blind and low-vision community and neuroscience experts at OHSU for Seeing Nature; with the Native American Youth and Family Center during Contemporary Native Photographers and the Edward Curtis Legacy; and with Nike N7 to host Native artist Bunky Echo-Hawk during Native Fashion Now. A unique partnership was formed last year when the Museum hosted Literary Arts’ reimagined
The Museum’s curatorial and collections departments saw growth and innovation in 2016. The Arlene and Harold Schnitzer Curator of Northwest Art, Bonnie Laing-Malcolmson, retired after six years of dedicated service; the online collections and library teams merged; and a number of important works were added to the collection, including three contemporary photographs by Brazilian Vik Muniz, a dramatic dress from Wendy Red Star, an important Cézanne lithograph, and a photograph by distinguished photographer Emmet Gowin.
Growth in Online Collections continued, with usage increasing by 30 percent over the previous year. Other notable milestones include the cataloguing of the entire Northwest Art collection and the inclusion of our collections in national scholarly databases.
Financial Highlights
By the Numbers
For the fifth year in a row, the Museum ended the year with a balanced budget an important indicator of sound financial management that is key to attracting support from foundations and government. Additional highlights include an 8 percent increase in membership and donations, as well as record levels of earned income from admissions, store sales, and rental business. Funding to support the Museum comes from a variety of revenue sources. Last year, 29 percent came from admissions and memberships, 44 percent from contributions and grants, and 26 percent from Museum Store sales and facility rental fees. The majority of expenses were used in support of Museum and Film Center programs and to acquire and preserve art.
325,000 people visited and participated in Museum and Film Center programs, with nearly one-third of those attending for free or at a reduced price, including nearly 50,000 children.
The Museum’s audited financial reports and 990 tax returns are available on our website.
TOP: Installation photo from Gods and Heroes; Bunky Echo-Hawk demonstration at miller Family Free Day; LEFT: High school students at a Global Classroom screening; ABOVE: Christopher Rothko presenting in the galleries during Wordstock.
Nearly 25,000 people participated in 108 public programs, including lectures, artist talks, and in-gallery events. More than 490 teachers attended educatorspecific events throughout the year. Over 1,000 Museum and Film Center volunteers gave more than 70,000 hours of their time. Over 3,000 high school students attended free Northwest Film Center Global Classroom screenings, and more than 1,000 students of all ages attended classes at the Northwest Film Center.
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NEW WORKS IN THE MUSEUM’S OUTDOOR SCULPTURE MALL This spring, visitors will see several striking new artworks outside in the Evan H. Roberts Sculpture Mall:
ISA GENZKEN: Two Orchids (2015-2016) The Museum is hosting German artist Isa Genzken’s monumental Two Orchids on a long-term loan. Paired stems topped with perfect white blooms rise 34 feet high next to the Main Building. The showy flair of the Phalaenopsis has become the ubiquitous floral ornament seen everywhere from corporate offices to the flower shops of grocery stores. For Genzken, the once rare and exotic plant has become a symbol for the homogenizing effects of global trade. The pristine beauty of the outsized sculpture is both domineering and thrilling.
ROBERT MELEE: Her Leaving (2008), It Up (2008), and It Sitting (2008) The trio of painted bronze sculptures by Robert Melee (American, b. 1966) evoke classic art historical themes of the heroic and the grotesque. The monumental figurative works shroud the human form and endow it with a heavy, earthbound dimension akin to Henry Moore’s abstractions and Auguste Rodin’s portrait of Balzac. Melee complicates the perception of the figure by animating the surfaces with a marbleizing technique achieved by dripping and splattering enamel paint. The works upend the conventions of outdoor bronze sculpture by introducing the dynamic visual rhythms of abstract painting. Melee’s works join the Museum’s significant sculpture collection and will enliven the sculpture plaza this winter and spring. LEFT: Isa Genzken (German, born 1948), Two Orchids, 2015–2016, cast aluminum, stainless steel, lacquer, private collection, © Isa Genzken; ABOVE: Robert Melee (American, born 1966), Her Leaving, 2008; It Up, 2008; It Sitting, 2008, Enamel paint on bronze, Gift of Stefan Simchowitz, © Robert Melee.
NORTHWEST FILM CENTER
those who do not travel, you can’t get a better vicarious experience!” In more recent years, the Film Center’s Global Classroom, which provides free screenings for high school students, has expanded to share PIFF selections reflecting foreign language and world-history curriculum topics with more than 3,500 regional high school students annually. Global Classroom often includes discussions with visiting filmmakers and additional curriculum that teachers can bring back to their classrooms. One high school student declared their trip to the Whitsell Auditorium “the best field trip ever.”
PIFF XL IN ITS 40TH YEAR, THE PORTLAND INTERNATIONAL FILM FESTIVAL EXPECTS MORE THAN 40,000 FILMGOERS.
On February 9, the Northwest Film Center will usher in the 40th installment of the Portland International Film Festival, dubbed “PIFF XL” by longtime Festival creative team Sandstrom Partners. Since its inception in 1977, PIFF has grown from one theater to seven and is expected to draw upwards of 40,000 filmgoers this year. PIFF has become a treasured cultural event in the dark days of the Pacific Northwest in February. “PIFF illuminates the gloom of late winter in Portland with a kaleidoscope of light from all over the world,” remarked former Oregonian film critic and author Shawn Levy. “It’s impossible to imagine filmgoing in Portland without thinking of PIFF. So many milestone films, so many memorable visits from filmmakers, so many surprises and discoveries and duds and explosions and parties and arguments and more.” Regional cinephiles now block out the festival dates as soon as they are announced, determined to spend three weeks exploring the world through the lens of new international cinema hailing from Switzerland to Argentina, Hong Kong to Canada. Over the years, a tight-knit community has formed around those
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who drop everything to take in 20-plus featurelength films and shorts programs during the festival, many of whom connect throughout the rest of the year in the Whitsell Auditorium as part of the Northwest Film Center’s Silver Screen Club. Silver Screen Club member Gretta Siegel has been attending PIFF for 30 of its 40 years. “I love the experience, not just because I love foreign film, and not just because it keeps me warm and dry in February,” she said, “but because it provides an immersive experience (for those of us who put the rest of our lives on ‘hold’); creates a lovely ‘pop-up community’ around the Festival—eventually leading to some very dear friendships, and lends a kind of synergy in cultural and geographic literacy for those of us who also love foreign travel. And for
Opening Night of the 40th Portland International Film Festival is February 9. Screenings will continue in theaters across the Portland area through February 26. Festival passes and details at nwfilm.org/PIFF40.
PIFF MEMORIES PIFF 1 (1977)—Opening Night film: Orson Welles’ F for a Fake. PIFF 2 (1978)—Famed Russian director Nikita Mikhakov presents Slave of Love. PIFF 3 (1979)—American director Martin Ritt presents his Oscar-winning (Sally Field) Norma Rae. Cinematographer: Vilmos Zsigmond. PIFF 4 (1980)—German director Hans-Jürgen Syberberg’s epic, seven-hour Our Hitler screens while Mount St. Helens erupts, raining ash during the film’s intermission. PIFF 6 (1983)—Polish director Krzysztof Zanussi presents his Venice Film Festival prizewinner Imperative. PIFF 8, 9 & 10 – The Woody Allen Years: Radio Days, Hannah and Her Sisters, and The Purple Rose of Cairo open the Festival. Alas, not the Allen traveling years. PIFF 9 (1986)—The screening of French director Jean-Luc Godard’s Hail Mary draws 1,000 Catholics who circle the theater with a candlelight protest. New band in town Pink Martini plays at the opening night party. PIFF 11 (1988)—Portland Olympic boxer Andy Minsker and photographer Bruce Weber (Let’s Get Lost) present Weber’s first film, Broken Noses, about Minsker’s club in Portland. PIFF 12 (1989)—British director Mike Leigh presents High Hopes, his award-winning comedy about a working-class British couple struggling in the Margaret Thatcher era. PIFF 13 (1990)—American director Alan Rudolph presents the opening night film, his Seattle-made Love at Large. American director Les Blank screens his New Orleans music film I Went to the Dance. PIFF 14 (1991)—Famed Polish director Krzysztof Zanussi returns to introduce Inventory.
PIFF 16 (1993)—French director Régis Wargnier introduces opening night film Indochine, which went on to win the Oscar for Best Foreign Language Film. First-time director M. Night Shyamalan (The Sixth Sense) presents his first film, Praying with Anger. PIFF 20 (1996)—Danish director Niels Arden Oplev presents his first feature, Portland. American director Steven Soderbergh presents his feature Schizopolis and his documentary about Spalding Gray, Gray’s Anatomy. PIFF 21 (1997)—German director Werner Herzog presents Little Dieter Needs to Fly. PIFF 25 (2001)—Author Sherman Alexie presents his first feature, The Business of Fancydancing, and Gus van Sant presents Gerry, starring Casey Affleck and Matt Damon. PIFF 27 (2004)—American-Egyptian director Jehane Noujaim, a guest in 2001 with Startup. com, returns with Control Room, a documentary about Arab broadcaster Al Jazeera. PIFF 30 (2007)—Opening night film The Lives of Others, after winning the Audience Prize, wins the Best Foreign Film Oscar the next night. PIFF 31 (2008)—Israeli director Eran Kolirin presents The Band’s Visit for opening night. PIFF 32 (2009)—Danish director Niels Arden Oplev returns to present The Girl with the Dragon Tattoo. LAIKA’s Coraline opens the Festival. PIFF 37 (2014)—Director Godfrey Reggio (Koyaanisqatsi) presents Visitors. PIFF 38 (2015)—The eighth edition of the Cine-Lit Conference and the Hispanic Film Showcase, first presented in 1990, brought five Spanish and Latin American directors and 200 scholars from throughout the U.S. to the Festival.
PIFF 15 (1992)—Director Michael Apted screens 35 Up, the fifth part of his every-sevenyear chronicle of the fortunes of 14 British children begun in 1964. 63 Up due in 2018. PORTLAND ART MUSEUM 23
MAGIC & LOSS Coming of Age Onscreen MARCH 3 – APRIL 26, 2017
In literary theory, the Bildungsroman is a novel in which we witness the formation of an individual who undergoes a profound change due to knowledge gained through experience. Generally speaking, the protagonist in such works is a young member of society, and the shift in consciousness that occurs during the story will transform them and hasten their advancement into an adult understanding of the world in which they live. With Magic & Loss: Coming of Age Onscreen, we present a collection of films from around the globe intended to draw parallels between the literary convention of the Bildungsroman and the celebrated coming-of-age narrative as it exists in the cinema. Since coming-of-age stories are historically among the most commonly produced in the film industry of any country, our attempt is not intended to be viewed as a comprehensive overview, but rather a concentrated journey through a theme as expressed by some of the greatest visionaries of the cinema.
KRZYSZTOF KIEŚLOWSKI Dekalog JANUARY 5 – FEBRUARY 1
After a career as a respected documentary filmmaker, Polish director Krzysztof Kieślowski (19421996) emerged as a widely recognized international voice with the success of four major films in the early 1990s—The Double Life of Veronique (1991) and his “Tricolor Trilogy” of Blue (1993), White (1993), and Red (1994). But it is Dekalog (1988) that remains his masterpiece, securing by itself Kieślowski’s status as a major artist. Made for Polish television, each of the 10 hourlong episodes is based on one of the Ten Commandments. Not intended to be literal illustrations, the stories are modern parables exploring how individual directives function in a complex, modern world. Though each story emanates from the same Warsaw housing complex, they function independently, otherwise united only by a silent witness who from time to time oversees the individual character’s profound dilemmas. The 10 episodes will be shown in five two-part programs throughout January.
REEL MUSIC
ENROLLMENT OPEN IN MARCH Summer Film Camps for Kids and Teens
JANUARY 13 – FEBRUARY 5
JUNE 19 – AUGUST 18
Northwest Film Center Summer Camps spark creativity, encourage teamwork, and build skills for more than 200 youth each year. Throughout the summer, campers age 7 to 18 work in teams to write, direct, star in, and edit their own short films—all while learning filmmaking and editing basics. Each weeklong camp culminates in an exhibition of the campers’ films for family and friends at the Northwest Film Center. Camps for kids and teens entering grades 4–12 run weekly June 19–August 18 at the Northwest Film Center, conveniently located at Southwest 10th Avenue and Salmon Street. Enrollment opens early March at nwfilm.org.
History of African-American Cinema Series APRIL AND MAY
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In conjunction with the Museum’s exhibition Constructing Identity, the Film Center presents a collaborative, retrospective film series illuminating and exploring Black and African-American experience and identity. See page 31 for details.
MEMBERS & PATRONS
PATRON SOCIETY In recognition of their generosity, Patron Society members are offered a host of exclusive opportunities throughout the year designed to enhance their connection to the Portland Art Museum in new and meaningful ways. To learn more about the Patron Society and any of the opportunities below, contact Genesha Murray at 503-276-4312.
RECEPTION CELEBRATING RODIN AND CONSTRUCTING IDENTITY
REUNITED: Francescuccio Ghissi’s St. John Altarpiece Gallery Talk
FRIDAY, FEBRUARY 10
Join us for a reception and discussion that explores this extraordinary exhibition, which reunites the surviving panels of Francescussio Ghissi’s St. John the Evangelist altarpiece for the first time in over a century. Discussion led by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.
Join us as we celebrate two significant exhibitions that provide insight on the human form and expression. Rodin: The Human Experience will astonish with bronze masterpieces, representing works from Rodin’s long career. Constructing Identity will present contemporary sculptures, paintings, prints, and drawings as well as works from the 1930s through the Civil Rights era.
TUESDAY, APRIL 4
TOP: Dox Thrash (American, 1893–1965), Wandering Boy, ca. 1940, watercolor, 27 x 23 in. © Estate of Dox Thrash; Francescuccio Ghissi (Italian, active 1359-1374). The Resurrection of Drusiana (detail), ca. 1370. Tempera on wood. Gift of the Samuel H. Kress Foundation. LEFT: Auguste Rodin (French, 1840–1917), Toilette of Venus and Andromede, modeled after 1890, Musée Rodin cast 1/8 in 1987, Bronze, Godard Foundry, 20 x 14 1/2 x 23 1/2 in. Lent by Iris Cantor; RIGHT: Auguste Rodin (French, 1840–1917), Narcisse, modeled about 1882, enlarged and retitled 1890; Musée Rodin cast 8/8 in 1985; Bronze; Godard Foundry; 32 x 13 x 12 1/4 in. Lent by Iris & B. Gerald Cantor Foundation.
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MEMBERS
RODIN: THE HUMAN EXPERIENCE Members Preview
MEMBERS NIGHT Open to all Members
FRIDAY, JANUARY 20
Experience the museum in a different way. Relax and unwind during this casual, interactive evening featuring engaging discussions with curators and artists, docent tours, and more! Come mingle with other members and experience the Museum’s collections and special exhibition Rodin: The Human Experience.
5:30–8 P.M.
Be among the first to see Rodin: The Human Experience—Selections from the Iris and B. Gerald Cantor Collections. Special exhibition galleries open to Members only during these special hours. Advance tickets required and available on site or online at portlandartmuseum.org/member-events.
THURSDAY, MARCH 9 5:30–8 P.M.
Cash bar (wine, beer, light snacks only). Advance reservations are required and capacity is limited. This event is open to all membership levels. Members only, please. To reserve tickets visit portlandartmuseum.org/member-events.
MEMBER GUEST DAYS APRIL 29 AND APRIL 30 10 A.M.–5 P.M.
Share your love of art and the Museum with additional family and friends. Open to all members. Bring up to two additional guests beyond your membership privileges. You and your guests will enjoy free admission and special tours on these days. Guests must be accompanied by member on visit.
YOUR MEMBERSHIP How to Renew
Online: portlandartmuseum.org/membership By Phone: 503–276-4249 Onsite: in the Museum box office By Mail: Portland Art Museum, Attn: Membership, 1219 SW Park Ave., Portland, OR 97205
E-Communications
Make sure we have your email address on file for the latest news about Museum exhibitions, events, special programs, and more. If you don’t already receive the Museum’s newsletter, you can subscribe on our home page, portlandartmuseum.org.
Ticketing
Advance tickets for Museum admission, lectures, and events are available at the Museum box office, or online at portlandartmuseum.org. To receive the Member rate for tickets on our website, Members must sign in with their email username and password. If you have not yet created a password for our website, register by visiting the website and clicking “Register” in the top right.
Visitation
Memberships are non-transferable. For Dual and above members with “Guest” membership cards, named cardholders must accompany guests upon entering the Museum.
Lost Membership Cards
To request replacement card(s), call 503276-4249, email membership@pam.org, or request new membership cards at the Museum box office.
Additional Questions or Requests
Call the Membership Office at 503-276-4249 or visit our Frequently Asked Questions page at portlandartmuseum.org/faqs.
PORTLAND ART MUSEUM 27
GIFTS THAT GIVE BACK BY K. GENE CHRISTIAN OF CHARITABLE ESTATE PLANNING NORTHWEST
is fixed for life and will not change— regardless whether the financial markets go up or down. Gift Annuities also offer relief from capital gain tax and most people enjoy a significant portion of their payments on a tax-free basis as well. In recent years, a new type of gift annuity has been developed, allowing the funder to select the year in which they would like the annuity payments to begin. So while the gift annuity agreement is consummated today, and tax deduction garnered today, the payments may not begin until some time in the future. Each year the funder waits to begin receiving the annuity stream of payments, the rate increases. Once the funder determines the year in which they would like payments to commence, the rate for that year is “locked in” and will remain in force for life. The current economy is producing two phenomena simultaneously for many Oregonians. First is the near-historic level of the stock market and real estate values in our area. If you own stock or real estate, capital gain abounds. Second is the continuing low rate of return many people are experiencing on investments such as CDs, bonds, and stock dividends. So while the value of our assets today may be quite high, the returns are currently quite low. The Portland Art Museum has developed tools to help people who are considering selling stock or real estate and would like to explore tax-wise ways to contribute to the charities they care about. Charitable Remainder Trusts (CRTs) have been part of Section 664 of the IRC since 1969 and offer many tax advantages for those who are charitably minded. Once established, CRTs allow the funder to
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avoid initial capital gain tax, generate a handsome income tax deduction, enjoy tax-free compounding inside the trust, receive payments that are typically taxed more favorably than ordinary income, and reduce or eliminate estate tax in the process for those with larger estates. Section 664 is thought to be one of the only places where you can enjoy potentially five favorable tax outcomes when you create a CRT. So if you’re contemplating a sale of appreciated stock or real estate, consider whether a CRT might be right for you first. Charitable Gift Annuities are typically attractive for those in their retirement years who want to increase their cash flow. Gift annuity payout rates compare favorably to more traditional investments such as CDs, bonds, and dividend yields on most stock. The rates are between 5 and 9 percent, depending upon your age. Once funded, the gift annuity payout rate
If you would like to learn more about how CRTs and Gift Annuities might work in your particular situation, please contact Karie Burch, Associate Director of Development at 503-276-4240 or karie.burch@pam.org.
PROGRAMS & ACTIVITIES
PORTLAND ART MUSEUM 29
RODIN: THE HUMAN EXPERIENCE JOHN E. BUCHANAN JR. MEMORIAL LECTURE
Experiencing Rodin JUDITH SOBOL, EXECUTIVE DIRECTOR, IRIS & B. GERALD CANTOR FOUNDATION JANUARY 22, 2 P.M.
Exhibition curator Judith Sobol will tell the story of the creation of Iris and B. Gerald Cantor’s remarkable collection of work by Auguste Rodin, from its beginnings just after World War II to the 1990s, when it numbered an astounding 750 pieces of sculpture, letters, photographs, drawings, and other ephemera. She will also explore Rodin’s singular achievement in transforming traditional sculpture into modern sculpture and will explain Rodin’s influence on sculptors working today, 100 years after the death of the master.
CONSTRUCTING IDENTITY Constructing Identity: Conversations on AfricanAmerican Art & Culture
Almost Good Hair: Arvie Smith
BERRISFORD BOOTHE, GUEST CURATOR,
FEBRUARY 2, 6 P.M.
CONSTRUCTING IDENTITY, AND PROFESSOR OF ART, LEHIGH UNIVERSITY BARBARA BULLOCK, ARTIST MARITA DINGUS, ARTIST BILL HUTSON, ARTIST LEWIS TANNER MOORE, COLLECTOR AND ART ADVOCATE ARVIE SMITH, ARTIST FEBRUARY 11 10 A.M. – NOON, PANEL DISCUSSION 1–3 P.M., ARTIST GALLERY TALKS
Join us for a two-part program exploring the past, present, and future of African-American Art. In the morning, Guest Curator Berrisford Boothe facilitates a wide-ranging conversation with an acclaimed group of African-American artists, scholars, and collectors who will reflect on the power of art making to shape how African Americans both see themselves and are seen by the world. In the afternoon, select exhibition artists will move to the Constructing Identity galleries where they will offer a closer look at their own work within the context of the larger show. Please visit the Museum website for a detailed schedule. Space will be limited for the gallery portion of the program, so advance tickets required.
ARVIE SMITH, ARTIST
For Arvie Smith, art offers freedom. Smith exposes racial slights, denigrations, and atrocities drawing from both his own lived experience as a Black man and the larger context of the history of race in the United States. He is a professor emeritus at Pacific Northwest College of Art. His work is in the collections of the City of Portland; Reginald Lewis Museum of African American History and Culture, Baltimore; The Estate of Nelson Mandela, South Africa; and Portland Art Museum, among others.
Morgan Parker & Friends Poetry Performance MORGAN PARKER, POET MARCH 11, 2 P.M.
Join award-winning poet Morgan Parker and some of Portland’s best high school poets for a dynamic performance in the Constructing Identity galleries. In conversation with the exhibition, writers will share original work exploring race, gender, identity, and community. Parker was recently featured in Best American Poetry and is half of the performance duo The Other Black Girl Collective. She recently published the collection There Are More Beautiful Things Than Beyoncé. Organized in partnership with Tin House Books.
LEFT: Auguste Rodin (French, 1840–1917), Meditation (with arms), modeled about 1880; enlarged about 1896, Musèe Rodin cast 8/12, 1979, Bronze, Coubertin Foundry, 62 x 31 x 26 in., Lent by Iris Cantor; Arvie Smith (American, born 1938), Trapeze Artist, 2014, oil on canvas, 40 x 30 in. © Arvie Smith, Courtesy the artist.
The Incredible Journey of Jazz
In Conversation with Mickalene Thomas
APRIL 30
LATE SPRING
PART I: 1 P.M. - INTERACTIVE HISTORY
Join us for a conversation with former Portlander and acclaimed multidisciplinary artist and filmmaker Mickalene Thomas. Best known for large-scale portraits, landscapes, and interiors that combine art-historical, political, and pop-cultural references, Thomas’ work often investigates complex notions of femininity, beauty, and racial representation. Her work is part of significant permanent collections including The Museum of Modern Art, the Art Institute of Chicago, Whitney Museum of American Art, The Studio Museum in Harlem, and the Hammer Museum, among many others.
PROGRAM PART II: 3 P.M.- JAZZ OF THE 1930S & 40S PERFORMANCE
Learn about the history of jazz, from its beginnings in Africa to its development in the United States and current role in global culture, through this special Museum edition of The Incredible Journey of Jazz. Developed and presented by PDX Jazz, this interactive program features a narrator and jazz ensemble who together demonstrate characterizations of historical figures and musical illustrations from different eras and styles to provide the audience with a living experience of jazz. The program will be followed by an all-star performance of classic jazz material from the 1930s and ’40s by African-American composers.
History of AfricanAmerican Cinema Series APRIL AND MAY
The Northwest Film Center will present a collaborative, retrospective series of films illuminating and exploring Black and AfricanAmerican experience and identity. Mirroring the development and flowering of 20th- and 21st-century Black and African-American art practices, the history of this cinema is replete with innovative narrative forms, radical aesthetics, and a multiplicity of crucial testimonies.
UNLESS OTHERWISE NOTED, ALL
Visit portlandartmuseum.org for confirmed date and event updates.
CHILDREN’S KIMONO
CENTER FOR CONTEMPORARY NATIVE ART Gallery Talk BRENDA MALLORY, ARTIST MAY 5, 6 P.M.
Join Brenda Mallory (Cherokee Nation) for a close look at her installation Inevitable Outcomes in the Book of Recurring Chapters. Mallory’s work is inspired by a rereading of Cherokee history and addresses ideas of disruption, repair, and renewal.
JOHN YEON John Yeon and the High Stakes of Regionalism in the 1930s BARRY BERGDOLL, MEYER SCHAPIRO PROFESSOR OF ART HISTORY AND
Kasuri and Tsutsugaki: The Magic of Japanese Dyeing Techniques
ARCHAEOLOGY, COLUMBIA UNIVERSITY;
DR. DAVID PALY, COLLECTOR
MAY 14, 2 P.M.
FEBRUARY 9, 6:30 P.M.
Paly has been avidly collecting Japanese textiles for more than 30 years. Over that time, he has grown into one of the foremost experts on two resist-dye techniques found in folk textiles, kasuri (ikat) and tsutsugaki. This illustrated lecture is presented in conjunction with the exhibition Cranes, Dragons, and Teddy Bears: Japanese Children’s Kimono from the Collection of Marita and David Paly. Sponsored by the Asian Art Council.
FORMER PHILIP JOHNSON CHIEF CURATOR OF ARCHITECTURE AND DESIGN, MUSEUM OF MODERN ART
Bergdoll explores the work of John Yeon within the context of the 1930s and complex issues of regional architecture and American identity. Yeon’s work will be considered in relationship to well-known architects of the period, including Frank Lloyd Wright, Walter Gropius, and Marcel Breuer.
PROGRAMS ARE FREE FOR MEMBERS. SPACE MAY BE LIMITED. ADVANCE TICKETS ARE RECOMMENDED AND AVAILABLE ONLINE OR ON-SITE.
PORTLAND ART MUSEUM 31
GHISSI ALTARPIECE Reuniting a Masterpiece DAVID STEEL, CURATOR OF EUROPEAN ART, NORTH CAROLINA MUSEUM OF ART APRIL 2, 2 P.M.
For more than 20 years, David Steel has been on a quest: to bring together all of the nine panels that originally formed an altarpiece by the 14th-century artist Francescuccio Ghissi. Eight of the panels are in museum collections, including the Portland Art Museum, but the final panel has never been located. This led Steel to propose a radical solution: Why not re-create the missing panel? Come hear more about the journey to reunite this incredible work of art.
ONGOING PROGRAMS Artist Talk Series Join artists from a range of disciplines in the galleries on the second Thursday of each month for lively conversations about works of art on view at the Museum and how they relate to their own practices. The talks are followed by a complimentary social hour in the museum café. Program begins at 6 p.m. $5 members, $19.99 non-members, $16.99 seniors. Space is limited. Tickets available online or on site. FERNANDA D’AGOSTINO FEBRUARY 9
Fernanda D’Agostino’s work has been commissioned and displayed internationally and nationally in traditional venues such as film festivals and museums and in non-traditional public spaces. Her work acknowledges the viewer as an active participant within prepared, responsive environments that incorporate architecture, sculpture, and interactive sound and video.
CYNTHIA LAHTI
JOEL FISHER APRIL 13
Joel received a Bachelor of Arts in English from the University of New Hampshire and Master in Fine Arts from the Rhode Island School of Design. He has worked and studied at the Hochschule für Grafik und Buchkunst in Leipzig, Germany, on a Fulbright Fellowship, and his photographs have shown nationally and internationally in both group and solo exhibitions. Most recently, he participated in the Lower Manhattan Cultural Council’s Workspace program. He is an Assistant Professor of Art and Studio Head of Photography at Lewis & Clark College.
MARCH 16
Cynthia Lahti is a native Oregonian who finds inspiration in her state’s physical and psychological landscape. She grew up in Portland and earned her bachelor’s degree at the Rhode Island School of Design in 1985. After graduating she returned to Portland, where she continues to live and make art. Her art practice encompasses drawing, collage, and sculpture and is influenced by human artifacts from ancient times to the present, as well as by personal experiences and emotions. She was awarded the Hallie Ford Fellowship for artists in 2013 and the Bonnie Bronson Fellowship in 2015. Please note this date is on the third Thursday of the month.
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ERIK GESCHKE MAY 11
Erik Geschke is a mixed-media artist who has exhibited his work both nationally and internationally at venues including the Hammer Museum in Los Angeles, ZieherSmith Gallery in New York, and the FIAC Contemporary Art Fair in Paris. He lives and works in Portland, where he is an Associate Professor of Art at Portland State University.
LEFT: (top) Francescuccio Ghissi (Italian, active 1345-1374). St. John the Evangelist Causes a Pagan Temple to Collapse, 1370s, tempera and gold leaf on panel. Metropolitan Museum of Art, New York; (bottom) Charlotte Caspers (Dutch, born 1979), in the style of Francescuccio Ghissi, St. John the Evangelist Baptizing Aristodemus, 2012, tempera and gold leaf on panel, North Carolina Museum of Art, Raleigh; RIGHT: Herman “Kofi” Bailey (American, 1931–1981), Young Woman from Yoruba, 1970–1975, charcoal, graphite, and chalk on paper, © Herman Bailey.
Baby Morning Remix FIRST THURSDAYS OF THE MONTH,
IN DIALOGUE
10 A.M. – 12:30 P.M.
In Dialogue: Art, Power, and Identity
February 2, March 2, April 6, May 4
SUNDAYS, JANUARY 22 (1–3 P.M.), FEBRUARY 26, AND MAY 14 (10:30 A.M. – 12:30 P.M.)
We welcome babies and their caregivers for tea beginning at 10 a.m. The first tour will begin at roughly 10:30 a.m., or when we have a large enough group ready to go. The second tour will begin 45 minutes later, or when a second group is ready to go. Baby Morning’s home base remains open until 12:30 p.m. with toys, games, and blankets, providing a welcoming, accommodating space free of worries. No need to be “on time” for this informal program designed for babies and their caregivers.
In Dialogue is an occasional series of interdisciplinary, discussion-based seminars that explore art on view at the Museum in relation to works in the humanities, social sciences, and sciences. This spring, we will investigate the theme of art, power and identity through three special exhibitions: APEX: Arvie Smith; Corita Kent: Spiritual Pop; and Constructing Identity: Petrucci Family Foundation Collection of African-American Art. For more information on seminar topics and discussion leaders, please visit the Museum website. Space is limited, and advance registration is required. Cost per session: $10 Members/$19.99 non-member. Educator and student discount available. This series is co-sponsored by Portland State University–University Studies.
Midday Art Break Take a break from your workday on the second Wednesday of the month and join a curator, museum educator, artist, or local scholar for a 45-minute talk in the galleries. Please visit the Museum website to learn more about upcoming topics. All talks begin at 12:30 p.m. Space is limited. Advance tickets recommended.
Art & Conversation Join us the third Thursday of every month for coffee followed by a lecture or film screening. Coffee at 9:15 a.m.; lecture at 10:15 a.m. This series is free for adults 62 and over. Please visit the Museum website to learn more about upcoming topics. Art & Conversation is made possible through the Marguerite and Harry Kendall Education Fund. Additional support comes from Rick and Erika Miller.
For a list of speakers and topics, please visit the Museum’s website.
PORTLAND ART MUSEUM 33
MILLER FAMILY FREE DAY Constructing Identity APRIL 22, 10 A.M.-5 P.M.
Join us for a range of youth, artist, and community-driven programs in this daylong celebration exploring African-American art, identity, and culture. This free day is also organized in connection with The HEART of Portland: A Portland Public Schools K-12 Arts Showcase, which will be on view at the Museum from April 12-22. For more information on the schedule of events, please visit the Museum website. An additional free day will take place on May 20 in celebration of Art Museum Day presented by AAMD. Family Programs are generously supported in part by Sharon L. Miller and Family, the Gordon D. Sondland and Katherine J. Durant Foundation, the Lamb Baldwin Foundation, and the OCF Joseph E. Weston Public Foundation.
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PUBLIC TOURS Join Museum docents for gallery tours and other experiences at various times throughout the week. Public tours depart from the Park Avenue entrance on the following days and times: 1 P.M. TUESDAY & THURSDAY 6 P.M. FRIDAY (SLOW LOOKING) 12:30 & 3 P.M. SATURDAY 12:30 P.M. SUNDAY (FAMILY) 3 P.M. SUNDAY
Tours for Visitors Who Are Blind or Partially Sighted Tours begin at 2:30 p.m. on the third Thursday of each month.
Meditation Series FIRST AND THIRD THURSDAYS OF EVERY MONTH, 5:30 – 6:30 P.M. Meditate at the museum. You are welcome to attend all sessions or drop in as you like.
GIFTS & GATHERINGS
PATRON SOCIETY MEMBERS The Portland Art Museum gratefully acknowledges the individuals and businesses who form our Patron Society. To find out more about the Patron Society, its unique member benefits, and the significant impact you can make on Museum programs and essential operations by becoming a member, contact Genesha Murray at 503-276-4312. (List as of December 2, 2016) •Trustee and At-Large members
CHAIRMAN’S CIRCLE $25,000+
Berggruen Institute Ryan and Mary Finley• Janet H. Geary• Loren J. Schlachet• Arlene Schnitzer• Mr. and Mrs. William A. Whitsell• Anonymous (2) DIRECTOR’S CIRCLE $10,000–$24,999
Linda and Scott Andrews• Sharon and Keith Barnes• Peter and Missy Bechen Mrs. Mary Cecilia Becker Lisa Domenico Brooke Richard Louis Brown Mr. and Mrs. Roger Burpee• Brooks and Dorothy Cofield Truman Collins Mr. and Mrs. James F. Crumpacker• Matthew and Jasmin Felton• Brian Ferriso and Amy Pellegrin Katherine and Mark Frandsen• Lana and Christian Finley• Mr. and Mrs. Mark Goodman• Alix and Tom Goodman• Mary C. and Gregory K. Hinckley Ronna and Eric Hoffman Fund of OCF Steven and Kasey Holwerda Judy and Hank Hummelt Mr. David J. Johnson Mr. and Mrs. Frederick D. Jubitz• Willa M. Kemp• Dr. Douglas and Selby Key• Heather Killough Wes and Nancy Lematta Fund of OCF Mrs. Dorothy Lemelson
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Carol Schnitzer Lewis Fund of OCF Kathleen Lewis• Mrs. Theodore Lilley, Jr. Cyndy and Edward Maletis• David and Dolorosa Margulis• J.S. and Robin May McGeady Family Foundation• Laura S. Meier• Sarah Miller Meigs and Andrew Meigs Mark J. and Dr. Jennifer R. Miller• Prudence M. Miller Mrs. Shirley N. Papé Alex Payne and Nicole Brodeur Dorothy Piacentini Travers Hill Polak Yale Popowich, MD and Tina Skouras• Thomas and Megan Shipley• Wayne M. Quimby and Michael J. Roberts Pat and Trudy Ritz• Angela and Rex Snow• Troy St. John, Fidelity National Title Andrée H. Stevens• Julie and Peter Stott• Hank Swigert Greg and Cathy Tibbles Lawrence and Jane E. Viehl Nani S. Warren• Mr. and Mrs. Robert Warren, Jr.• Dr. Alton and Celia Wiebe• Mr. and Mrs. David Willmott• Jim and Susan Winkler• Judith Wyss Anonymous LEADERSHIP CIRCLE $5,000–$9,999
Anthony and Martha Belluschi Bryan Bickmore
Phil Bogue Marianne Buchwalter Cynthia and Stanley Cohan Cheney and Mary Cowles Ann and Mark Edlen Mr. and Mrs. Wayne R. Ericksen Ann Flowerree• Suzanne Geary• Mr. John Goodwin and Mr. Michael-Jay Robinson• Leona and Patrick Green• Peter and Diane Hall• Jean Irwin Hoffman Sue Horn-Caskey and Rick Caskey Mr. and Mrs. Richard B. Keller Judy Carlson Kelley Nick and Patty Knapp Drs. Dolores and Fernando Leon Cascadia Foundation Elizabeth Lilley• The Mark Family• Mr. and Mrs. Robert McCall Diane Forsgren McCall Marilyn McIver Rick and Erika Miller• Jonathan Pellegrin and Patricia Mellencamp in honor of Amy Pellegrin and Brian Ferriso David James Pollock Dee Poth• Jennifer and Charles Putney Sarah and Chris Remy Richard and Mary Rosenberg Charitable Foundation Richard and Deanne Rubinstein April Sanderson• Mr. and Mrs. Robert W. Schlieman Jordan D. Schnitzer Lois T. Schnitzer Ms. Grace Serbu• Sanjeev Lahoti and Angela Summers Robert Trotman and William Hetzelson• Don and Linda Van Wart• Joe and Shelley Voboril• Mr. and Mrs. Edward T. Wheeler GUARANTOR $3,000–$4,999
Anne Barbey Gwyneth Gamble Booth Kathryn Bunn James and Diane Burke Maynard Chambers James and Nancy Dalton Paul and Pamela DeBoni Richard and Betty Duvall James FitzGerald and Karen Howe Katherine and James Gentry Zephyr Charitable Foundation Eric and Jan Hoffman Mary and Gordon Hoffman
The Holzman Foundation Dr. Oliver Lane Inman and Ms. Erin Johnson Mrs. Salena Johnson Katherine and Gordon Keane Donna L. Larson Patrick Y. H. Lee Peter and Susie Lynn Bill and Melinda Maginnis Ruben and Elizabeth Menashe Mrs. Hester H. Nau Cynthia and Steven Pailet Brenda J. Peterson Mr. and Mrs. Robert W. Philip Bob and Marilyn Ridgley Catherine Rudolf Rutherford Investment Management, William D. Rutherford Richard and Marcy Schwartz Joanne and William Senders So-Hum Foundation Charlie and Darci Swindells Ambassador Charles J. and Caroline H. Swindells Rena L. Tonkin Christine and David Vernier Amy C. Walker Linda and Richard Ward Ms. Wendy W. Warren and Mr. Thomas Brown Janet Williamson DJ Wilson and Bill Hoadley/KGW Media Group• Jonathan and Pearl Yu Anonymous BENEFACTOR $2,000–$2,999
Mrs. Roudi Akhavein Dr. Seth Alley Meredith and Robert Amon Sally R. Ashley Joan Lamb Baldwin Jane and Spencer Beebe Peter and Susan Belluschi Karen Benson Pamela H. Berg Deborah Bergman Daniel Bergsvik and Donald Hastler Mr. and Mrs. Lawrence S. Black Mary Lee Boklund Maureen and John Bradley Robert and Barbara Brady Buzz Braley Kay and Marty Brantley Peter and Noydena Brix Martha L. Brooke Deborah A. and Terrell D. Brown Andy and Nancy Bryant Bruce and Brenda Burns Eric and Robin Busch Barbara and Worth Caldwell
Suzanne Carlbom Carol Ann and Kent Caveny Donna Avedisian and Craig Chanti John and Laura Cheney Mike and Tracey Clark Molly Cliff-Hilts and David Hilts Maribeth W. Collins Climate Architecture + Landscape, LLC, Amy and John Cooney Kimberly B. Cooper and Jon Jaqua Kathleen and Paul Cosgrove Ré Craig Mrs. Sally S. Davis Drs. Michael and Gail Davis Elizabeth and Kirk Day James and Maria Declusin J. Michael Deeney, M.D. Barbara Delano and John Wyckoff Ryan Dixon Theo and Nancy Downes-Le Guin Margueritte H. Drake Franklin and Harriet Drake Carol Edelman Richard Edelson and Jill Schnitzer Edelson Barry and Janet Edwards Francene and Stephen English Doris Ennis Robert Feldman and Julia Mangold Candace and Bert Forbes Dr. William and Beverly Galen Thomas and Laura Garnier Stanley Geffen and Adrienne Souther• Andra Georges and Timothy Shepard Thomas and Elizabeth Gewecke Ms. Patricia Gianelli and Mr. Curt Gleaves Jerry and Barbara Giesy Karen and Harry Groth Mr. and Mrs. Jeff Grubb Luisa Adrianzen Guyer and Leigh Guyer Ms. Susan Halton Jamey Hampton and Ashley Roland Robert and Janis Harrison Geoffrey and Linda Hathaway Bunza Brandon and Courtney HayesLattin Ms. Beth A. Heinrich Phillip Hillaire and Paul Lumley Roger and Margaret Hinshaw Mrs. Gretchen Holce Janet Louvau Holt Dr. Larry Hornick Mr. and Mrs. Frederick W. Horstkotte Ms. Janice Isenberg Arnold and Virginia Israelit Lian and Paul Jewell Brad Johnston Jessie Jonas
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WARHOL OPENING PARTY AND ANNUAL MEETING 1. Brian Ferriso with Life Trustee Nani Warren 2. Members enjoying Warhol 3. Guests having fun at the photo booth 4. Brian Ferriso presenting at the Annual Meeting 5. Jamie Alagna, Sara Krajewski, Jan Quivey, and Jeff Fisher 6. Members enjoying dancing
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WARHOL GALA 1. Arlene Schnitzer and Jordan Schnitzer 2. Tonia Mason, Jasmin Felton, and Nick and Katrine Ehlen 3. Blake Gopnik and Ryan Finley 4. Angela and Rex Snow with Jordan and Taylor Morrell 5. Dolorosa and David Margulis
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Dr. Sivia Kaye Lee Kelly and Susan Hammer Mary Jane Kilhefner Michael and Mary Klein Cheryl and Chick Kozloff Ms. Bonnie Laing-Malcolmson and Jack Woida Jerry Lamb Barbara and William Langley Helena and Milt Lankton Douglas Larson and Sarah Ryan Bonnie Laun Ms. Romani Lay and Neville Wellman Robert and Susan Leeb Mr. Ross Lienhart Jan and Luciano Valerio Ms. Nancy R. Locke and Mr. Donald Harris Alysia Duckler and David Lokting William and Connie Lovejoy Dr. Richard and Diane Lowensohn Ann and Ron Lyman Jonathan and Elise Makler
Tita Malinow Lisa and Shawn Mangum Lisa B. Mann Mr. and Mrs. M. James Mark Barbara and Lee Mason Michael and Barbara Masterson Stephen R. McCarthy and Lucinda Parker Win McCormack Jim and Char McCreight Judy and Michael McCuddy Duane and Barbara McDougall Nancie S. McGraw Jamie Martin and Mike McGuffey Patricia McMahan Gloria Grimson Mighell Jo Ellen and Samuel Miller Mia Hall Miller and Matt Miller Brad and Nancy Miller J.C. and Victoria J. Milne Mia Hervin Moore and Jon Moore Dee Corbin Moore and Thomas Jewett Moore
PATRON BUSINESS SOCIETY MEMBERS (List as of December 2, 2016) BUSINESS CHAIRMAN’S CIRCLE—$25,000+
BUSINESS DIRECTOR’S CIRCLE $10,000–$24,999
Hoffman Construction Company MTek Kiosk, Inc. Nike, Inc. Provenance Hotels REX HILL The Oregonian Wells Fargo Willamette Dental Group
EXHIBITION SERIES SPONSORS
Support 30 exhibitions a year at the Museum, enabling the allocation of resources to support a diversity of shows. (List as of December 12, 2016)
PRESENTING SPONSORS
The James F. and Marion L. Miller Foundation Meyer Memorial Trust
The Collins Foundation William G. Gilmore Foundation
Jeffrey Morgan Bruce and Jeanette Morrison Joyce and Dennis Muir Denise Mullen/Oregon College of Art and Craft Ernest and Anne Munch Terry and Carolyn Murphy Judy Preble Murphy Tom and Chris Neilsen Mr. Dane Nelson Gareth and Lisa Nevitt Kristie and Bob Niehaus John and Virginia Niemeyer Elizabeth C. Noyes Linda Ochenrider Paul O’Hanlon and Jane Kurtz Parsons Family Fund of OCF Patricia Pedersen Marianne Perrin Mr. and Mrs. Luke Pietrok Charles and Ruth Poindexter David and Shirley Pollock Heidi Pozzo
Mr. and Mrs. Wallace Preble Lucy and Herb Pruzan Ron and Lee Ragen Richard and Wendy Rahm Jimmy Rattanasouk Stephen and Jean Roth Halle and Rick Sadle Dan Saltzman and Liz Burns Eugene and Mary Sayler Dori Schnitzer and Mark Brown Dina Schnitzer Daniel Schwoerer Bonnie Serkin and Will Emery Peter Shinbach Tom and Carol Shults Edmund Smith Mr. and Mrs. William J. Sorenson Mr. Steven N. Spence and Mrs. Barbara Spence Bonnie Stern Pat and Larry Strausbaugh Susan Sturgis and Edgar J. Waehrer Kimberly Tardie
Christine Tarpey and Richard Yugler Virginia Taylor Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Marta and Ken Thrasher Keith Todd Cheryl Tonkin Consul General Kojiro Uchiyama and Mrs. Uchiyama Jane Wachsler Barbara and Bastian Wagner Wendy Wells Jackson Ben and Elaine Whiteley Bill and Wendy Whitsell Jo Whitsell Mrs. John Wild Cameron and Carey Wiley Dan Winter and John Forsgren John and Carol Woodworth Virginia Wright Cheryl and Tom Wyatt Anonymous (4)
BUSINESS LEADERSHIP CIRCLE $5,000–$9,999
BUSINESS BENEFACTOR $2,000–$2,999
Artemis Foods Archery Summit Art of Catering Christie’s Davis Wright Tremaine Hotel Modera Nordstrom NW Natural The Standard Winderlea Vineyard & Winery
Alchemy Allen Trust Company ChefStable Catering Chubb Insurance City of Beaverton Columbia Private Banking Dalla Terra Winery Direct Devil’s Food Catering Elephants Delicatessen Elizabeth Leach Gallery Energy Store Distributors Inc. ESCO Foundation Flair Plastic Products Food In Bloom Geffen Mesher & Company, P.C. Hood River Distillers Langley Investment Properties Mario’s Markowitz Herbold PC
Meyer Pro, Inc. PDX CONTEMPORARY ART Perkins Coie Portland Trail Blazers Precision Garage Door Service Rogers Machinery Company, Inc. Showers Pass Sigma Investment Management Company The Party Place Turtledove Clemens Vernier Software & Technology Vibrant Table Catering and Events Inc. VTECH Communications, Inc. Wildwood & Company Woodruff Sawyer & Co. Ziba Design
BUSINESS GUARANTOR $3,000–$4,999
Bonhams/Sheryl Acheson Brown Printing Inc. Lane Powell PC New & Neville Real Estate Services Portland Business Alliance Tonkon Torp, LLP
LEAD SPONSORS
SPONSORS
IN-KIND
Exhibitions Fund Supporters The Walton Family Foundation Richard Louis Brown
The Sharon and Keith Barnes Endowment Fund Joel and Sandra Damiani Patricia Johnson and Michael Davidson/The Robert and Mercedes Eichholz Foundation Ed Cauduro Fund of The Oregon Community Foundation Flowerree Foundation Alix and Tom Goodman Deborah J. and Peter A. Magowan Family Foundation Shirley N. Papé Judith Wyss Oregon Cultural Trust Oregon Arts Commission Regional Arts and Culture Council Work for Art
Allen Trust Company NW Natural MTek Kiosk, Inc
MAJOR SPONSORS
Maribeth Collins Exhibition Endowment Fund Mary C. Becker The Broad Art Foundation Pat and Trudy Ritz The Harold & Arlene Schnitzer CARE Foundation Arlene Schnitzer/Jordan Schnitzer The Sokoloff Family The Standard James and Dana Tananbaum Helen Jo and Bill Whitsell
PORTLAND ART MUSEUM 39
EDUCATION AND ACCESS SPONSORS
Support exhibition programming, public and family programs, teacher and educator programs, school tours, and access programs supporting free and reduced admission prices. (Gifts of $5,000+ and endowments) (List as of December 12 , 2016)
GIFTS OF ART
Gifts received from August 1 – November 30, 2016
ELLA HIRSCH LEGACY SOCIETY The Portland Art Museum gratefully acknowledges members of the Ella Hirsch Legacy Society, those who have chosen to support the Museum through their wills, estate plans, or life income arrangements. Members enjoy the satisfaction of knowing that their gifts will become part of our region’s artistic and cultural heritage. For more information, contact Karie Burch at (503) 276-4240. (List as of November 30, 2016) *Deceased Anthony C. R. Albrecht Betty Allen* Ron Anderegg Roger Barber* in honor of Olivia Shepard Barber Patricia H. Beckman* Marjorie and Pietro Belluschi* Pamela Berg Daniel Bergsvik and Donald Hastler Patricia and Steven Bilow Clarence Bobbe* Mr. Bruce Bowers* Judy Bradley and Dave Mitchell Theodore and Celia Brandt Kay and Marty Brantley and Sons Marjorie Briggs*
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Brent and Laura Carreau Ed Cauduro* Nancy* and William Chalmers Maribeth W. Collins Lois V. Colliver* Ardeth E. Colliver* Chuck and Peggy Corgan Jeannine B. Cowles* Ms. Lois R. Davidson* Cynthia and Frank Day Pamela R. and Paul A. De Boni Mary and Spencer Dick Mr. Stuart Durkheimer* Stephen W. Edwards* Erma C. Engels*
Ken and Joan Austin Education Outreach Fund Bank of America Foundation William H. and Mary L. Bauman Foundation Anne A. Berni Foundation Fred W. Fields Fund of the OCF Marguerite and Harry Kendall Education Fund Selby and Doug Key KeyBank Foundation
Samuel H. Kress Foundation The Lamb Baldwin Foundation Wes and Nancy Lematta Fund of the OCF Elizabeth Lilley Maybelle Clark Macdonald Fund Rick and Erika Miller Sharon L. Miller and Family Oregon Arts Commission Oregon Cultural Trust
Pacific Power Foundation PGE Foundation Mildred and Morris Schnitzer Charitable Fund of the OCF Gordon D. Sondland and Katherine J. Durant Foundation U.S. Bank Foundation OCF Joseph E. Weston Public Foundation
Carl Abbott and Margery Post Abbott The Apron Apprentices: Stephany Anderson; Sally Ishikawa; Margaret Emborg Jeppessen; Margaret Woods; Joni Zimmerman Chessé Arts Ltd.
Bequest of John D. Gray Margaret L.L.C. Jones Phyllis Koven Franklin Meyer Nancy Moore
Lillian Pitt Scriptum Inc. Sylvia Noble Tesh
Joanne M. Engels Henry Failing Trust Leslie M. Faught Fred and Sue Fields* Bill Findlay* Janet H. and Richard* Geary Stephen and Priscilla Glazer Walter B. Gleason* Doug and Lila Goodman Margaret Gravatt* Leona and Patrick Green Linda Green in honor of Ella and Lloyd Green* Bruce Guenther and Eduardo A. Vides, M.D. Diana and Peter Hall Guinivere Hall* Susan Halton John and Carol Hampton* Karl and Edith Henze* Judi K. Hofer* Ronna and Eric Hoffman Tom* and Gretchen Holce Thomas W. Holman, Sr.* Jerry* and Jackie Inskeep Mr. Manuel Izquierdo* Salena Johnson Noel Jordan* Fred and Gail Jubitz Wendy Kahle and Stanley G. Boles Ruth Kainen* Sivia Kaye Richard and Ruthie Keller Martin* and Judy Kelley John Kellogg Peter* and Nan Koerner
Marian Kolisch* Henry* and Yvonne Laun Joe and Maria Leon Irving Lieberman Joanne Lilley Veronica A. Macdonald* Lisa and Shawn Mangum The Mark Family in honor of Mary Mark* Maryellen Mcculloch Beverley McDuffie Irene H. McHale* Laura and Roger* Meier Sarah Miller Meigs and Andrew Meigs Gloria Grimson Mighell Phillip C. Miller and Sharleen Andrews-Miller Robert and Sharon Miller Prudence M. Miller Margo Montgomery Camila Morrison Marilyn Murdoch Dr. Robert B. Pamplin and Mrs. Marilyn H. Pamplin James V. Parker and Kathleen Culligan Martha Jane Pearcy Carl Pearson* Dr. Franklin* and Dorothy Piacentini John W. S. Platt* Christy Anthony Ragan and Jack Merritt Ragan III James and Judith Rankin Nancy Renz Marge Riley* Pat and Trudy Ritz
Edwin T. Robinson Stephanie Simpson Roley Jay and Martha Rosacker Mr. Jon W. Roth* Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Luwayne E. Sammons Arlene and Harold* Schnitzer Peter Shinbach Ken Shores* and Tom Law Dr. Joseph A. Soldati Gordon D. Sondland and Katherine J. Durant Richard C. Stetson, Jr. Julie and Peter Stott Roy and Tricia Streeter Patricia Swenson* Ms. Christine Swigert* Ann J. Swindells* Ralph and Rose Tanz Monte L. and Doris* R. Thoen Robert Trotman John Unruh* Georgia Vareldzis* Jane and Lawrence Viehl Liz and Larry Volchok Margo Grant Walsh Nani S. Warren Daniel Webb David E. Wedge Trust Bill and Helen Jo Whitsell Valerie L. Whittlesey Charles Wrobel, M.D. and Heidi Affentranger Anonymous (12)
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WATCH LEARN MAKE NORTHWEST FILM CENTER 45TH ANNIVERSARY CELEBRATION
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1. Ellen Thomas, Enie Vaisburd, Randall Jahnson, Tara Johnson-Medinger, and Courtney Hermann 2. Joanna Priestley and Tara Johnson-Medinger 3. Beth Harrington, Kelley Baker, Ivana Horvat, Adrian Hopffgarten, and Evan Feenstra 4. Brian Lindstrom, David Jahns, and Tim Williams 5. Matt McCormick and Shawn Levy 6. David Milholland, Brooke Jacobson, Jim Blashfield, Will Vinton, and Roger Kukes
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FIVE BUDDHAS CEREMONY AND CELEBRATION 1. Maribeth Graybill with Robert and Sandra Mattielli 2. Brian Ferriso and Amy Pellegrin 3. Robert and Sandra Mattielli present Five Buddhas to Venerable Il Hwa and Venerable Hyun Bong of Songgwangsa 4. Duk-ho Moon, Consul General of the Republic of Korea in Seattle 5. Guests enjoying dinner
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GIFTS OF NOTE
Non-membership gifts given to the Museum and NWFC of more than $500 from August 1, 2016, to November 30, 2016. *Deceased Ameriprise Financial and Columbia Threadneedle Asian Art Council of the Portland Art Museum Bank of America Bechen Family Foundation Carol Ann and Kent Caveny Clark Foundation Consulate General for the Republic of Korea in Seattle Contemporary Art Council of the Portland Art Museum Anne and James F. Crumpacker Cultural Heritage Administration of the Republic of Korea Joel and Sandra Damiani Downtown Development Group LLC Edward and Cynthia Maletis Foundation Elizabeth Leach Gallery Matthew and Jasmin Felton
Ferguson Wellman Capital Management, Inc. Fidelity Charitable Gift Fund Ann Flowerree Flowerree Foundation Gerding/Edlen Development Company Mark and Christi Goodman Graphic Arts Council of the Portland Art Museum Steven and Kasey Holwerda Intel Corporation Mr. and Mrs. Frederick D. Jubitz Key Laser Institute, Dr. Douglas and Selby Key Heather Killough Loren G. Lipson Cyndy and Edward Maletis David and Dolorosa Margulis Mrs. Jean Reynolds
Mr. Harold Matzner Laura S. Meier Melvin Mark Companies Meyer Memorial Trust Mildred and Morris Schnitzer Charitable Fund of The OCF Mia Hervin Moore and Jon Moore National Endowment for the Arts New England Foundation for the Arts Nike, Inc. Carlton Olson Oregon Arts Commission Oregon Community Foundation Oregon Jewish Community Foundation Jae Chun Park PDX CONTEMPORARY ART Peter Meijer Architect, PC and Heritage Conservation Group, LLC Richard and Janet Geary Foundation, Inc. Dori Schnitzer and Mark Brown Lois Schnitzer Susan Schnitzer and Greg Goodman Bonnie Serkin and Will Emery Peter Shinbach Tiffany Sidwell Angela and Rex Snow Mr. Al Solheim
Peter W. Stott Foundation Cheryl Strayed and Brian Lindstrom The Jackson Foundation The Skylark Foundation The Snow Foundation The Swigert Warren Foundation The Washington Art Consortium Travel Portland Walter Clay Hill and Family Foundation Linda and Richard Ward Nani S. Warren Jo Whitsell Willamette Dental Group Jim and Susan Winkler Zimmer Gunsul Frasca Architects, LLP Anonymous (7) BEQUESTS
Estate of W.H. Nunn David E. Wedge Trust NORTHWEST FILM CENTER
Adelina Books Carl Zeiss SBE, LLC Ken and Heather Eagon FilmStruck Governor’s Office of Film and Television
Lane Powell PC Marmoset LLC Nordic Northwest Panasonic System Communications Company of North America PDXpendables Philadelphia Insurance Companies Portland Development Commission Social Venture Partners Portland Sunshine Dairy Foods Svedvik White Bird Dance GIFTS IN-KIND
Art of Catering Brown Printing Inc. City Center Parking Davis Wright Tremaine Geranium Lake Leona and Patrick Green Karen Hackenberg House Spirits Distillery Portland Piano Company REX HILL West Coast Drape MATCHING GIFTS
YourCause, LLC
MUSEUM STORE Come see our amazing products for spring!
RENTAL SALES GALLERY SPRING SHOW MAY 19, 2016, 5 – 8 P.M.
View new works by gallery artists and enjoy refreshments while browsing works in all media for sale or rent. The Rental Sales Gallery is located across the street from the Museum at 1237 SW 10th Avenue. Free admission.
Floating Fish $3.75 | $3.38 members
Revolving globe $150 | $135 members
The Museum gratefully acknowledges all members who have continued to support the Museum on an annual basis through your membership contribution. Please visit our website at portlandartmuseum.org/support-us as we recognize you, our loyal members, in our donor honor roll. The Portland Art Museum is accredited by the American Association of Museums and is supported in part by annual contributions from the Oregon Arts Commission, the Oregon Arts Heritage Endowment Fund of The Oregon Community Foundation, the National Endowment for the Arts, and the Regional Arts & Culture Council.
PORTLAND FINE PRINT FAIR 2017 Own a Masterpiece!
Advance ticket prices for the Benefit Preview
JANUARY 27–29
$30 Museum members $40 General public $50 Night of the event
You are invited to attend the Portland Fine Print Fair, now in its fourth year in the historic Fred and Suzanne Fields Ballroom and bigger than ever. Peruse and purchase prints from 20 top dealers from across North America and Europe. These knowledgeable art dealers welcome your questions, whether you are a first-time collector or a seasoned connoisseur. European, American, and Japanese prints from the Old Masters to contemporary emerging artists will be on sale, and excellent works can be found in all price points, $100 to $50,000. This is your chance to browse and buy at the largest and most comprehensive print fair on the West Coast. Did you know the Portland Art Museum buys art from these dealers for our permanent collection? In recent years, the Museum has purchased work ranging from Old Masters Albrecht Dürer and Eugène Delacroix, to Asian masters Kitagawa Utamaro and Utagawa Kuniyoshi, and contemporary and local favorites like Sol LeWitt and Wendy Red Star—all from PFPF dealers. For a complete list of dealers, visit portlandartmuseum.org/printfair2017 Sponsored in part by the Graphic Arts Council of the Portland Art Museum; Dr. Douglas and Selby Key; Framing Resource; Dan Bergsvik and Don Hastler; Quickbird Creative; and Karen Varnhagen, Morgan Stanley. Wine for the Benefit Preview generously donated by Winderlea.
Available online at portlandartmuseum.org/printfair
Free Admission JANUARY 28, 10 A.M.–6 P.M. JANUARY 29, 11 A.M.–5 P.M.
FREE TOURS CURATOR’S CHOICE WITH MARY WEAVER CHAPIN, PH.D. SATURDAY, JANUARY 28, 1:30 P.M. SUNDAY, JANUARY 29, 1:30 P.M.
BENEFIT PREVIEW Support the Print Department JANUARY 28, 6–9 P.M.
Join us for an exclusive preview of the prints for sale before the Fair opens to the general public. Enjoy passed hors d’oeuvres, wine, and priority purchasing from 20 dealers exhibiting fine prints from Old Master to contemporary. Proceeds from ticket sales benefit the acquisitions and activities of the Museum’s Print Department.
Opening continued AMERICAN PHOTOGRAPHS February 11 – May 28 CCNA: BRENDA MALLORY AND LUZENE HILL March 11 – October 29, 2017
REUNITED: FRANCESCUCCIO GHISSI’S ST. JOHN ALTARPIECE March 25 – July 9, 2017
ADMISSION
CORITA KENT: SPIRITUAL POP Through January 29, 2017
RODIN: THE HUMAN EXPERIENCE—SELECTIONS FROM THE IRIS AND B. GERALD CANTOR COLLECTIONS January 21 – April 16, 2017 CONSTRUCTING IDENTITY: PETRUCCI FAMILY FOUNDATION COLLECTION OF AFRICANAMERICAN ART January 28 – June 18, 2017
CRUMPACKER FAMILY LIBRARY HOURS Open by appointment. Please contact library@pam.org or call 503-276-4215
Continuing
Opening
Monday Closed Tuesday–Wednesday 10 a.m.–5 p.m. Thursday–Friday 10 a.m.–8 p.m. Saturday–Sunday 10 a.m.–5 p.m.
FAZAL SHEIKH: THE ERASURE TRILOGY March 11 – July 23
QUEST FOR BEAUTY: THE ARCHITECTURE, LANDSCAPES, AND COLLECTIONS OF JOHN YEON May 13 – September 3, 2017
EXHIBITION SCHEDULE
HOURS
CCNA: RESTORING THE BREATH Through February 26, 2017 THE ART AND ARTISTIC COMMUNITY OF LILLIAN PITT Through March 2017 PHOTOGRAPHY AND CONTEMPORARY EXPERIENCE Through March 5, 2017 APEX: ARVIE SMITH Through March 12, 2017 CRANES, DRAGONS, AND TEDDY BEARS: JAPANESE CHILDREN’S KIMONO FROM THE COLLECTION OF MARITA AND DAVID PALY Through March 26, 2017
Members/Children (17 and younger)* free Adults $19.99 Seniors (62 and older) $16.99 Students (18 and older with ID) $16.99 *Children 14 and younger must be accompanied by an adult. Tickets available online.
CONTACTS
General Information Membership Information
503-226-2811 503-276-4249
FREE & REDUCED
ADMISSION Every Day
Children ages 17 and younger are free.
Every Friday after 5 p.m. $5 general admission 5–8 p.m.
Free First Thursday Free admission 5–8 p.m. the first Thursday of every month.
Miller Family Free Day April 22 and May 20, 10 a.m.–5 p.m. Support for free admission is made possible thanks to the Gordon D. Sondland and Katherine J. Durant Foundation, Sharon L. Miller and Family, and the Lamb Baldwin Foundation. Help us provide additional free opportunities by supporting the Museum’s Art Access Endowment. Visit portlandartmuseum.org/admission-access-programs
1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG
FEBRUARY MON
TUE
2017
WED
THUR
FRI
BABY MORNING
SAT
PUBLIC TOUR
Rodin 10 a.m.–Noon
Slow Looking 6 p.m.
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Rodin 1 p.m.
FAMILY TOUR
Rodin 3 p.m.
PUBLIC TOUR
I’m Ready for a Pet 12:30 p.m. Constructing Identity 3 p.m.
Meditation 5:30 p.m.
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E
PUBLIC TOURS
Dance and Movement in Art 12:30 p.m.
PUBLIC TOURS
MIDDAY ART BREAK
Modern & Contemporary 1 p.m.
Arvie Smith - 6 p.m.
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OPENS
12:30 p.m.
3 PATRON SOCIETY
PIFF
PUBLIC TOURS
PUBLIC TOUR
8 PHOTOGRAPHY BROWN BAG TALK
Asian 1 p.m.
Luke Olsen Noon
Sculpture and the Human Body - 12:30 p.m.
10 PUBLIC TOUR
9:15 a.m.
Collection Highlights - 3 p.m.
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Photography - 1 p.m.
FAMILY TOUR
Rodin 3 p.m.
PUBLIC TOUR
Rodin 12:30 p.m.
Constructing Identity 3 p.m.
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Tours for Visitors Who Are Blind or Partially Sighted 2:30 p.m.
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15
PUBLIC TOUR
Meditation 5:30 p.m.
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PUBLIC TOURS
Native American 1 p.m.
17 PUBLIC TOUR
Collection Highlights 1 p.m.
18 PUBLIC TOURS
Slow Looking 6 p.m.
CCNA: Restoring the Breath PIFF FAMILY TOUR
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Cranes, Dragons, and Teddy Bears - 12:30 p.m. PUBLIC TOURS
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21 PUBLIC TOUR
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Women in Art 12:30 p.m.
Constructing Identity 3 p.m.
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12
PUBLIC TOURS
Listening to Art 12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOURS
Rodin 3 p.m.
PUBLIC TOURS
Japanese Dyeing Techniques 6:30 p.m. 9 ART & CONVERSATION
PUBLIC TOURS
Constructing Identity Panel Discussion - 10 a.m.–noon Artist Gallery Talks - 1–3 p.m.
LECTURE
7
Cranes, Dragons, and Teddy Bears 12:30 p.m.
LECTURE
ARTIST TALK
5 FAMILY TOUR
American Photographs
Collection Highlights - 1 p.m.
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4 OPENS
Galleries Close at 4 p.m.
Fernanda D’Agostino - 6 p.m.
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SUN
European 1 p.m.
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Rodin - 3 p.m.
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MARCH MON
2017
TUE
WED
THUR
FRI
BABY MORNING
SAT
PUBLIC TOUR
Portraits 10 a.m.–Noon Rodin 1 p.m.
D
PUBLIC TOURS
CLOSES
Rodin 3 p.m.
FAMILY TOUR
Glass in the Galleries 12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOURS
Photography and Contemporary Experience I’m Ready for a Pet 12:30 p.m.
Meditation 5:30 p.m.
PUBLIC TOUR
1 PUBLIC TOUR
E
SUN
MIDDAY ART BREAK
American and Northwest 1 p.m.
2 PUBLIC TOURS
12:30 p.m.
3 PUBLIC TOUR
Collection Highlights 1 p.m.
4 OPENS
CLOSES
FAMILY TOUR
FAMILY TOUR
PUBLIC TOURS
PUBLIC TOUR
Fazal Sheikh
Slow Looking 6 p.m.
MEMBER NIGHT
Rodin 12:30 p.m.
Rodin - 3 p.m.
S
6
7 PUBLIC TOUR
8 PHOTOGRAPHY BROWN BAG TALK
Collection Highlights 1 p.m.
9 ART & CONVERSATION
PUBLIC TOUR
9:15 a.m.
Peggy Washburn Noon
10
Morgan Parker, Poet - 2 p.m.
Constructing Identity 3 p.m.
11
Asian - 1 p.m.
Tours for Blind or Partially Sighted - 2:30 p.m.
FAMILY TOUR
Rodin 3 p.m.
PUBLIC TOUR
Rodin 12:30 p.m.
Constructing Identity 3 p.m.
O
Meditation - 5:30 p.m.
13
14
15
PUBLIC TOUR
ARTIST TALK
Cynthia Lahti - 6 p.m.
16
PUBLIC TOURS
Constructing Identity 1 p.m.
17 PUBLIC TOUR
Collection Highlights 1 p.m.
18 OPENS
Reunited: Francescuccio Ghissi’s St. John Altarpiece
Slow Looking 6 p.m.
PUBLIC TOURS
L
22
C
PUBLIC TOURS
PUBLIC TOURS
Modern & Contemporary 1 p.m.
28
23 PUBLIC TOUR
Collection Highlights 1 p.m.
29
24 Slow Looking 6 p.m.
30
31
CLOSES
Cranes, Dragons, and Teddy Bears FAMILY TOUR
PUBLIC TOURS
Constructing Identity 3 p.m.
21
19
3D Spree 12:30 p.m.
Cranes, Dragons, and Teddy Bears 12:30 p.m.
20
27
12
PUBLIC TOURS
Science and Art 12:30 p.m.
Slow Looking 6 p.m.
PUBLIC TOURS
PERFORMANCE
5
APEX: Arvie Smith
Cranes, Dragons, and Teddy Bears 12:30 p.m.
Galleries close at 4:30 p.m.
Photographic Exhibitions 3 p.m.
Rodin 3 p.m.
25
26
APRIL MON
2017
TUE
WED
THUR
FRI
SAT
SUN
PUBLIC TOURS
FAMILY TOUR
Rodin 3 p.m.
LECTURE
Medium as Metaphor 12:30 p.m.
Colorific 12:30 p.m.
D
Ghissi Altarpiece 2 p.m. PUBLIC TOUR
1
E
PUBLIC TOUR
BABY MORNING
American and Northwest 1 p.m.
PUBLIC TOUR
Around the Galleries 10 a.m.–Noon
SLOW ART DAY
Slow Looking 6 p.m.
Native American Masks Past and Present 12:30 p.m.
Slow Looking 12:30 & 3 p.m.
Photography 1 p.m.
2
FAMILY TOUR
PUBLIC TOURS
PUBLIC TOURS
Constructing Identity 3 p.m.
PUBLIC TOURS
Rodin 3 p.m.
Meditation 5:30 p.m.
S
3
4 PUBLIC TOURS
5 MIDDAY ART BREAK
Rodin 1 p.m.
6 PUBLIC TOUR
12:30 p.m.
7 PUBLIC TOUR
Collection Highlights 1 p.m.
O
Joel Fisher 6 p.m.
11 PUBLIC TOURS
12 PHOTOGRAPHY BROWN BAG TALK
European 1 p.m.
ART & CONVERSATION
9:15 a.m.
Jennifer McClure Noon
PUBLIC TOURS
19
PUBLIC TOUR
C
PUBLIC TOUR
Meditation - 5:30 p.m.
Rodin 3 p.m.
15 Eye Spy 12:30 p.m.
Drawing Is Seeing 12:30 p.m.
PUBLIC TOURS
Collection Highlights 3 p.m.
FAMILY TOUR
21
Constructing Identity 12:30 p.m.
22
MEMBER GUEST DAYS PUBLIC TOURS
Slow Looking 6 p.m.
26
27
FAMILY TOUR
Living with Dying 12:30 p.m.
28
23 MEMBER GUEST DAYS
Entertaining Elements in Art 12:30 p.m.
Photography 3 p.m.
25
16 FAMILY TOUR
PUBLIC TOURS
PUBLIC TOUR
Collection Highlights 1 p.m.
PUBLIC TOURS
Constructing Identity 3 p.m.
20
PUBLIC TOUR
American and Northwest 1 p.m.
Rodin 3 p.m.
Native American Masks Past and Present 12:30 p.m.
MILLER FAMILY FREE DAY
Slow Looking 6 p.m.
Collection Highlights 1 p.m.
L 18
FAMILY TOUR
14
Tours for Visitors Who Are Blind or Partially Sighted 2:30 p.m.
17
24
13
9
PUBLIC TOURS
Psychology of Perception 12:30 p.m.
Slow Looking 6 p.m.
ARTIST TALK
10
8
PUBLIC TOUR
Constructing Identity 3 p.m.
29
PERFORMANCE
Journey of Jazz - 1 & 3 p.m.
30
MAY MON
2017 TUE
WED
THUR
PUBLIC TOUR
Collection Highlights 1 p.m.
D
SUN
PUBLIC TOUR
PUBLIC TOURS
FAMILY TOUR
PUBLIC TOURS
GALLERY TALK
Native American 3 p.m.
PUBLIC TOUR
Drawing Is Seeing 12:30 p.m.
Slow Looking 6 p.m.
European 1 p.m.
Brenda Mallory 6 p.m.
Colorific 12:30 p.m.
Constructing Identity 3 p.m.
Meditation 5:30 p.m.
2 PUBLIC TOUR
E
SAT
BABY MORNING
Family Love 10 a.m.–Noon
1
3 MIDDAY ART BREAK
Collection Highlights 1 p.m.
4 PUBLIC TOUR
12:30 p.m.
5 PUBLIC TOUR
Asian 1 p.m.
PUBLIC TOUR
American and Northwest 1 p.m.
PHOTOGRAPHY BROWN BAG TALK
PUBLIC TOUR
Collection Highlights 3 p.m.
Constructing Identity 3 p.m.
11 ART & CONVERSATION
12 PUBLIC TOUR
9:15 a.m.
Noon
Constructing Identity 12:30 p.m.
PUBLIC TOURS
Listening to Art 12:30 p.m.
10
PUBLIC TOURS
LECTURE
13
Construction Identity - 1 p.m.
FAMILY TOUR
Modern & Contemporary 3 p.m.
PUBLIC TOUR
O
16
17
PUBLIC TOUR
Meditation - 5:30 p.m.
18
PUBLIC TOUR
PUBLIC TOUR
Constructing Identity 1 p.m.
Constructing Identity 3 p.m.
Slow Looking 6 p.m.
20
22
23
24
30
31
C
PUBLIC TOUR
29
European 1 p.m.
25
FAMILY TOUR
Constructing Identity 3 p.m.
PUBLIC TOURS
Contemporary Art Across Cultures 12:30 p.m.
26
21
PUBLIC TOURS
Eye Spy 12:30 p.m.
Native American 3 p.m.
L
Collection Highlights 1 p.m.
19
14
Animals in Art 12:30 p.m.
Tours for Visitors Who Are Blind or Partially Sighted 2:30 p.m.
15
John Yeon 2 p.m.
PUBLIC TOURS
The Avant-Garde in Art 12:30 p.m.
Slow Looking 6 p.m.
7 FAMILY TOUR
Quest for Beauty
Erik Geschke 6 p.m.
9
6 OPENS
Slow Looking 6 p.m.
ARTIST TALK
8
S
FRI
27
28
1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430
Richard Mayhew (American, born 1924), Summation, 2013, serigraph, 41 1/2 x 52 3/4 in. © Richard Mayhew. Licensed by the Experimental Printmaking Institute, Easton, PA.
CONSTRUCTING IDENTITY Petrucci Family Foundation Collection of African-American Art JANUARY 28 – JUNE 18, 2017