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PORTAL PORTLAND ART MUSEUM MAGAZINE

FALL 2026 the sta rs w e d o not se e : aus t r a li a n indig e n o us a rt per m a ne n t co l lec t i o n insta ll at i o n s you t h a n d co m m un i t y edu cati o n

FROM THE CO-INTERIM DIRECTORS

PAM CU T Tomorrow Theater

EXHIBITIONS & EVENTS

Whitsell Auditorium

The Stars We Do Not See: Australian Indigenous Art

Co:Laboratory

Harriet Tubman Center Museum Nine Women Artists

2026 Cinema Unbound Awards Sustainability Labs 31

MEMBERS & PATRONS

GIFTS & GRATITUDE

HeART of Portland Showcase Watanabe Sadao Prints of Darkness: The Modern Mezzotint Frank Matsura, Photographer: Local, Affable, Magnificent Data Consciousness: Reframing Blackness in Contemporary Print

Rental Sales Gallery PAM Venues The Shop at PAM

Titus Kaphar: Ascension German Expressionism in Art and Film M.C. Escher: Infinite Variations 19

NEWS & NOTEWORTHY Art Bridges Sharing the Collection Contemporary Native Art into Nation’s Classrooms What’s Hiding Inside Our Collection? From Gallery to Page

PORTAL, VOL. 15, ISSUE 2

Portal is a publication of the Portland Art Museum. A one-year subscription is included with Museum membership. Editorial inquiries should be addressed to: Portland Art Museum, Attn: Portal, 1219 SW Park Avenue, Portland, OR 97205-2430. Please call in address changes to Membership Services, 503-2764249. For general information call 503-226-2811. The mission of the Portland Art Museum is to engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations. The Portland Art Museum recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah, and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.

COVER: Wingu Tingima, (Pitjantjatjara c. 1917–2010), Minyma Tjuta (Seven Sisters) (detail), 2006, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2006, © Wingu Tingima / Copyright Agency, Australia 2023; TOP: Patju Presley (Pitjantjatjara, c. 1945–), Apanyin, 2004, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne Purchased, 2004, © Patju Presley / Copyright Agency, Australia 2023; MIDDLE Käthe Kollwitz, Brot (Bread), 1924, Chalk lithograph, © 2026 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Municipal Museum Tuebingen, Germany; BOTTOM: Katherine Ace (American, 1953-2023), 9 Portraits, 2019, oil and alkyd on canvas, 71 7/8 in x 119 15/16 in x 1 3/16 in, Museum Purchase: Funds provided by Arlene Schnitzer. Portland Art Museum, Portland, Oregon, © Katherine Ace, 2019.35.1a,b.

DEAR MEMBERS, To our community of more than 21,000 member households, thank you! Your enthusiasm, generosity, and engagement have made this an extraordinary year at the Portland Art Museum. Together, we have welcomed more visitors than ever to our transformed campus, seen attendance increase by 35 percent, and experienced remarkable growth in school tours and educational programs. Your support continues to make all of this possible. It has been a great honor to help steward the Museum, alongside our exceptional Interim Leadership Team, during this important year of transformation. While our staff has continued to deliver outstanding exhibitions, programs, and visitor experiences, the Board has been focused on one of its most important responsibilities: selecting PAM’s next Executive Director. After a thoughtful and comprehensive national search, we are delighted to share that Michael Anderson, Ph.D., will join us this fall as our new Arlene & Harold Schnitzer Director. Michael is a thoughtful, disciplined, and collaborative leader whose commitment to education, access, and community partnership aligns beautifully with PAM’s mission. Currently President and CEO at Oklahoma City Museum of Art, Michael holds a Ph.D. from Yale in Art History and Film Studies, with additional training at NYU. His scholarly background is unusually strong for a sitting museum director, and his curatorial work spans major exhibitions, collection development, and significant film programming. Just as importantly, Michael brings a proven record of institutional growth, financial leadership, strategic planning, and community partnership. Because we know how deeply our members care about the stewardship and future of this institution, we approached the search with great care. Guided by extensive listening across the Museum and the broader community, the Search Committee considered an accomplished national field and engaged finalists in substantive conversations about leadership, education, financial stewardship, community partnership, and PAM’s future. It was an intentionally thorough process, and one that ultimately led us to Michael Anderson, the leader we believe is uniquely suited to guide the Museum into its next chapter. That next chapter is already taking shape. This fall, we look forward to welcoming Michael as we open The Stars We Do Not See: Australian Indigenous Art, one of the most significant exhibitions in the Museum’s history and an exciting example of the ambitious work ahead. Michael joins a thriving institution with an extraordinary collection, a beautifully transformed campus, exceptional curators and staff, strong executive leadership, and a city that continues to embrace the arts. We are deeply grateful to our Interim Leadership Team, our staff, our trustees, and our volunteers for guiding the Museum with such dedication during this period of transition. Thank you also to the full search committee, which included myself, Amjad Bangash, and Alix Meier Goodman as Search Committee Co-Chairs; Mary Boyle, Rosemary Colliver, Mark Frandsen, and Jin Park, Trustees; and Celeste Brannon and Elizabeth Thomas, PAM Executive Staff. Most of all, thank you. Your continued support, enthusiasm, and belief in the Portland Art Museum have positioned us for an exciting future. We look forward to welcoming Michael and his wife, Lisa Broad, to Portland and introducing Michael to all of you in the months ahead. Appreciatively,

Cyndy Maletis, Board Chair

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EXHIBITIONS & INSTALLATIONS

THE STARS WE DO NOT SEE Australian Indigenous Art SEPTEMBER 5, 2026 – JANUARY 3, 2027 GALLERIES 101, 110, 212, 213 The Portland Art Museum is proud to offer the only West Coast presentation of The Stars We Do Not See: Australian Indigenous Art, the largest exhibition of Aboriginal and Torres Strait Islander art ever presented in North America. Organized by the National Gallery of Victoria (NGV) in Melbourne and the National Gallery of Art in Washington, D.C., the landmark exhibition will be on view at PAM from September 5, 2026, through January 3, 2027. The Stars We Do Not See features nearly 150 works by 142 artists, drawn exclusively from the NGV’s worldleading collection. Through a rich display of masterpieces—many of which have never left Australia—The Stars We Do Not See traces pivotal moments in Indigenous Australian art from the late 19th century to the present. The exhibition introduces visitors to the breadth and depth of contemporary art practice from the world’s oldest continuous living culture, including

the conceptual map paintings of the Central and Western Deserts, ochre bark paintings, and experimental weavings. Highlight works never shown in North America include Emily Kam Kngwarray’s monumental painting Anwerlarr Anganenty (Big Yam Dreaming) (1995), representing

the underground network of roots and yams. The Stars We Do Not See also highlights the work of newmedia artists such as Brook Andrew, Richard Bell, Reko Rennie, and Maree Clarke, who build on tradition with groundbreaking works in neon, video, and photography. The exhibition’s title is inspired by the late senior Yolŋu artist Gulumbu Yunupiŋu (1943–2012), who became known as “Star Lady.” Her intricate works, a selection of which are featured in the exhibition, use crosses to represent the stars we can see and a dense network of dots to symbolize the stars we cannot see—the unseen expanse of the universe. The Stars We Do Not See emphasizes the living nature of Indigenous Australian art and culture. The interpretation focuses on making Indigenous knowledges and ideas accessible, helping visitors understand that what might appear to Western audiences as abstract patterns are complex visual maps layered with cultural knowledge, stories, and law. Portland Art Museum’s presentation features several artwork tactiles— originally utilized in the Denver Art Museum installation—placed directly alongside the featured pieces.

TOP: Emily Kam Kngwarray, (Anmatyerr c. 1910–96), Anwerlarr Anganenty (Big Yam Dreaming), 1995, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Presented through The Art Foundation of Victoria by Donald and Janet Holt and family, Governors, 1995, © The Estate of Emily Kam Kngwarray / Copyright Agency, Australia 2023; BOTTOM: Patju Presley (Pitjantjatjara, c. 1945–), Apanyin, 2004, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased, 2004, © Patju Presley / Copyright Agency, Australia 2023; TOP RIGHT: Timothy Cook, (Tiwi 1958–), Kulama, 2012, earth pigments on canvas, National Gallery of Victoria, Melbourne, Robert Martin Bequest and NGV Supporters of Indigenous Art, 2019 © Timothy Cook / Copyright Agency, Australia 2023; BOTTOM RIGHT: Nyapanyapa Yunupiŋu (Gumatj c. 1945–2021), Gäna (Self), 2009–18, earth pigments on stringybark (Eucalyptus sp.), National Gallery of Victoria, Melbourne, Mary and Lou Senini Bequest, 2018 © The Estate of Ms N. Yunupiŋu, courtesy of Buku-Larrŋgay Mulka Centre, Yirrkala.

The exhibition is accompanied by a major new book published by the National Gallery of Victoria and the National Gallery of Art, in association with D.A.P./Distributed Art Publishers. Available at The Shop at PAM, the richly illustrated volume features more than 100 individual artwork plates by Australian Indigenous artists. By highlighting artists’ exploration of sovereignty, land rights, and ties to community and ancestors, The Stars We Do Not See encourages visitors to recognize that Indigenous Australian art is simultaneously ancient and contemporary, serving as a powerful expression of identity and a vital vehicle for the transmission of cultural knowledge and practice. Organized by the National Gallery of Victoria and the National Gallery of Art in Washington, D.C., in association with the Portland Art Museum, the Denver Art Museum, and the Peabody Essex Museum in Massachusetts. The Stars We Do Not See was curated by Myles Russell-Cook, former Senior Curator of Australian and First Nations Art, National Gallery of Victoria. In Portland, the exhibition presentation is coordinated by Kathleen Ash-Milby, Senior Curator of Native American Art.

The Stars We Do Not See is generously supported by North America Tour Sponsor Bank of America. Presenting support is provided by the William G. Gilmore Foundation / Mary Lee Boklund; lead support is provided by Roy D. Johnson, Ronni S. LaCroute Fund of Oregon Community Foundation, Pat and Trudy Ritz; major support from The Menashe Family, The Robert Lehman Foundation, Grace Serbu and Ivan Gold, Greg and Cathy Tibbles, and Bill and Helen Jo Whitsell; with additional support from Chita Becker, Bonnie Serkin and William Emery, Janet Williamson, Cascadia Foundation, Sally Gibson, April Knapp,

Marcy Schwartz, Angela Summers, Rev. Richard B. Thompson, Cheryl Tonkin, and Priscilla Bernard Wieden in loving memory of Dan Wieden.

Member Preview Day SEPTEMBER 4, 2026 As a benefit of membership, PAM members are invited to view this exhibition one day early—before it opens to the public! No need to reserve tickets in advance: Simply check in at the front desk with your membership card or valid photo ID to verify your membership for admission.

MAPPING THE JOURNEY A World-Class Exhibition Travels the Globe to Portland BY DON URQUHART CO-INTERIM DIRECTOR AND DIRECTOR OF COLLECTIONS & EXHIBITIONS

In fall 2020, while much of the world was focused on the pandemic, we received an unexpected note from Washington, D.C. Kaywin Feldman, Director of the National Gallery of Art, wondered if we’d join her and Tony Elwood from the National Gallery of Victoria in Melbourne to bring an exhibition of Indigenous Australian art to North America. They wanted our audiences to experience the range and beauty of this artistic tradition. Rooted in millennia-old visual storytelling, these paintings, sculptures, photographs, and multimedia works are unmistakably contemporary, reflecting cultural continuity and ongoing artistic innovation. As conditions improved and international travel resumed, the team from the National Gallery of Art and Portland Art Museum flew to Australia to see the works and meet the artists. In Melbourne, we visited museums,

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galleries, and conservation studios. From there, we traveled across the continent, stopping at Uluru on the way to Yirrkala, where we slept in tents and discovered art installations in faraway eucalyptus groves. We built relationships, earned trust within communities, and were reminded of something museums know well: There is no substitute for experiencing great art in person.

design and public programs to the careful transport of artworks across hemispheres. Now, after years of hard work and collaboration, I’m delighted to bring this exhibition to Portland, where our community can finally experience these remarkable works of art in person.

In the years since, our curators, educators, registrars, conservators, and preparators have worked across 14 time zones to bring this exhibition to Portland. Their work has shaped everything from gallery TOP: Uluṟu-Kata Tjuṯa National Park, Australia; MIDDLE: Gapan Gallery, an open-air art exhibition at the Garma Festival, 2022; RIGHT: Gulkula Campsite, Northern Territory, Photos by Don Urquhart; OPPOSITE RIGHT: Mick Wallangkarri Tjakamarra, (Kukatja / Ngalia c. 1905–96), Old Man’s Dreaming on Death or Destiny, 1972, synthetic polymer paint on composition board, National Gallery of Victoria, Melbourne, Purchased through The Art Foundation of Victoria with the assistance of North Broken Hill Ltd, Fellow, 1987, © The Estate of Mick Wallangkarri Tjakamarra, licensed by Aboriginal Artists Agency / Copyright Agency, Australia.

ART, COMMUNITY, AND CONVERSATION Public Programs for The Stars We Do Not See This autumn, the Portland Art Museum is thrilled to host a series of public programs designed to bring the vibrant narratives of The Stars We Do Not See: Australian Indigenous Art directly to our community. The landmark exhibition will be open for a Member Preview on September 4 and officially open to the public on September 5, accompanied by public events throughout the fall inviting everyone to engage, learn, and celebrate together.

The public programming kicks off with a major highlight on September 27, when the Museum hosts an exclusive public talk featuring Dr. Jessica Clark, the Senior Curator of Australian First Nations Art at the National Gallery of Victoria. Traveling all the way from Melbourne to Portland, Clark will share her deep expertise, providing local

audiences with firsthand insights into the artistic movements and cultural contexts shaping the exhibition. The learning continues on September 29 with an Evening for Educators, a special program designed for teachers to explore the exhibition’s themes and discover new ways to bring these rich cultural narratives into their classrooms. Throughout the fall, the Museum will also offer Look with Me tours. These interactive, guided sessions are perfect for visitors of all ages who want to slow down, look closely, and dive into deeper conversations around select pieces. Finally, for film enthusiasts, October’s Free First

Thursday at the Whitsell Auditorium will feature a dedicated lineup of public screenings exploring the vital themes and contemporary storytelling of Indigenous Australian filmmakers and artists. Whether you are joining us for a free community evening of cinema, a teacher-focused workshop, or an evening of global curatorial insights, these programs offer accessible entry points for everyone to expand and deepen their experience of this historic exploration of Australian Indigenous art. For more information and tickets, please visit portlandartmuseum.org.

HARRIET TUBMAN CENTER MUSEUM Curated by Harriet Tubman Center for Expanded Curatorial Practice at MLK School and Lisa Jarrett THROUGH JANUARY 3, 2027 GALLERIES 112–113 In May, the Museum’s Black Art and Experiences initiative opened the Harriet Tubman Center Museum exhibition, a show of 28 works from the collection, cocurated by 17 fourth- and fifth-grade students from the Harriet Tubman Center for Expanded Curatorial Practice at Dr. Martin Luther King Jr. Elementary School, and artist and educator Lisa Jarrett.

As the first Black Art and Experiences community-curated show, the Harriet Tubman Center Museum forefronts the vision of the young curators who worked on the themes, artwork selection, floor plan, and wall labels. Jarrett, whose art is also on view in her solo show, Tenderhead, drew on her work as a socially engaged artist to facilitate this multigenerational collaboration that included early direction from esteemed curators Dr. Lowery Stokes Sims and Dr. Leslie King-Hammond. Through research trips to the Museum, the young curators assessed exhibitions on view; met with curators, preparators, registrars, conservators, and learning programmers on staff; and visited

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artworks in the vault and Haber Study Room to follow the path of an artwork from storage to installation. Jarrett worked with her co-curators to understand the often-opaque inner workings of museums, emphasizing the collective effort of exhibition-making. The result is a compelling show that speaks to the young curators’ interests in color, text, nature, and community.

In their Meet the Curator tour, the curators walked visitors through their exhibition in a morning that was just as celebratory as it was informative of their hard work and scholarship. Harriet Tubman Center Museum will be on view throughout 2026 and includes Bloomberg Connects audio stops narrated by the young curators. Supported by 1803 Fund, Meyer Memorial Trust, and the Black Art and Experiences Endowment. This exhibition was made possible in part by the Institute of Museum and Library Services (MA-253532-OMS-23).

BLOOMBERG CONNECTS PAM’s Free Digital Guide

BLACK ARTS PDX EPHEMERA DISPLAY CELEBRATES THE EVERYDAY CREATIVITY OF PORTLAND’S BLACK ARTISTS

Enhance your next visit with our newly expanded Bloomberg Connects digital guide. Follow a refreshed Highlights tour and hear new gallery introductions from curators and artists throughout the Museum. As exhibitions and installations change, so will the stories waiting to be discovered. Bloomberg Connects is available to download on your smartphone before or during your visit.

The Black Art and Experiences (BAE) CREATE Space welcomed summer with a new display of Black Arts PDX ephemera. Curated by Dr. Kiara Hill, this new rotation includes materials from photographer Richard Brown, multimedia artist Charlotte Lewis, the Interstate Firehouse Cultural Center, and the Portland Black Repertory Theatre. This archive comes out of a collaboration between Dr. Hill and Culture Bearers Archive Inc., a community-driven nonprofit led by longtime Portland residents Mr. Bobby Fouther and Ms. Liz Fouther-Branch.

celebration of Black creativity and artistic merit in the everyday lives of artists living and working in Portland’s communities. This recent rotation will be on view through 2026 along with her documentary trailer for Black Arts PDX, which will premiere at PAM in 2027.

Through her ephemera displays, Dr. Hill offers visitors educational vignettes of Portland’s Black art history, while centralizing the tools, sketches, and memorabilia of artistic practice with the same care and attention shown toward finished works. Dr. Hill’s scholarship grounds the BAE galleries’

OPPOSITE PAGE; TOP LEFT AND BOTTOM: Harriet Tubman Center Museum installation. Photo by Mario Gallucci; OPPOSITE PAGE; TOP RIGHT: KSMoCA curators Maliyah and Teigan research works from the PAM vault to include in their upcoming show. The young curators are part of KSMoCA’s Harriet Tubman Center for Expanded Curatorial Practice team at MLK Elementary in NE Portland, Oregon. Photo by Lisa Jarrett. TOP: Black Arts PDX Installation in the CREATE Space. Photo by Aaron Wessling; RIGHT: Visitors during the Thelma Johnson Streat Community Homecoming. Photo by Jason Hill.

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NINE WOMEN ARTISTS THROUGH JANUARY 31, 2027 GALLERY 207 Katherine Ace’s monumental painting 9 Portraits includes nine prominent women artists from the Northwest. They are, from left to right, Laura Ross-Paul, Ace (with phone), Mary Josephson, Judy Cooke, Phyllis Yes, Sharon Bronzan, Shu-Ju Wang, Lucinda Parker, and Sherrie Wolf. This exhibition presents work by each of them. The left side of 9 Portraits includes a cropped detail of Henri Fantin-Latour’s A Studio at Les Batignolles (1870), which depicts a formal gathering of male artists whom Fantin-Latour considered to be influential in the French art scene, including Édouard Manet, Otto Scholderer, Pierre-Auguste Renoir, and Claude Monet. Ace asked

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her subjects to dress in their studio clothes and assume similar poses in response. Two other Portland artists are represented via their paintings: works by Sally Haley and Amanda Snyder hang on the wall in the background. The edge of a large-scale painting by Parker appears at right. The postcards and newspapers strewn on the floor are exhibition announcements and reviews highlighting the artists’ works. Reflecting on the lack of self-portraits by women artists in history, Ace notes that these women “have tenacity, have lived through sexist decades, told they couldn’t really be artists… expected to submit themselves to

male artist machismo.” While they work in a diverse range of styles, from representation to abstraction, the well-loved artists in 9 Portraits have built successful careers, and each is a significant presence in the Northwest. Curated by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art. This exhibition is made possible through support from the Arlene Schnitzer Northwest Art Exhibition Endowment and Exhibition Series Fund.

Katherine Ace (American, 1953-2023), 9 Portraits, 2019, oil and alkyd on canvas, 71 7/8 in x 119 15/16 in x 1 3/16 in, Museum Purchase: Funds provided by Arlene Schnitzer. Portland Art Museum, Portland, Oregon, © Katherine Ace, 2019.35.1a,b; FROM LEFT: Artists Laura Ross-Paul, Katherine Ace (seated), Mary Josephson, Judy Cooke, Phyllis Yes, Sharon Bronzan (seated), Shu-Ju Wang, Lucinda Parker, Sherrie Wolf.

HEART OF PORTLAND A Portland Public Schools K-12 Arts Showcase THROUGH SEPTEMBER 20, 2026 GALLERY 004 The Portland Art Museum is proud to partner with Portland Public Schools every spring for the HeART of Portland K-12 Arts Showcase. This annual celebration of students as artists includes a visual art exhibition, an opening night with performances in the Kridel Grand Ballroom, and a Miller Family Free Day celebration with performances in the Museum galleries. The showcase features hundreds of visual and performing arts students of all ages from across the district and draws over 2,400 visitors for opening night. This year’s HeART of Portland marks an important milestone: For the first time since the showcase began in 2015, the visual art exhibition occurs within the Museum itself, in the Silver Family Youth and Community Gallery at the heart of the new Mark Rothko Pavilion, rather than in a temporary event space in the Mark Building. The Museum’s preparators collaborated with PPS teachers and PAM Learning staff to plan and install these works with the

same care and professionalism that they bring to all Museum exhibitions. The results are powerful—a beautiful and moving immersion in children’s creativity, wonder, and art-making processes. Every PPS art teacher was invited to submit one student artwork and to work with students to craft labels discussing the thinking and learning behind each work. The exhibition features 107 works in a range of media, including drawing, painting, printmaking, textiles, ceramics, and photography. In addition, over 2,500 students participated in the collaborative project Windows of

Our Future, inspired by both the David Hockney exhibition and the architecture of the Rothko Pavilion with its large glass windows. Over 500 of these works are displayed on the glass surfaces of the Lana and Chris Finley Learning Studio, creating a vibrant and joyful environment for this summer’s classes and camps. Coordinated by Hana Layson, Head of Youth & Educator programs in partnership with PPS art educators.

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WATANABE SADAO OPENING SEPTEMBER 19 GALLERY 108 This exhibition introduces the artistry of Watanabe Sadao (1913–1996), who developed a unique stencil printing practice inspired by the ideals of the mingei (folk art) movement and his Christian faith. Watanabe experienced a difficult childhood, losing his father at only 10 years old and battling tuberculosis in his teen years. After working primarily in the textile industry, where he sketched designs and dyed cloth, he adapted traditional Japanese textile dyeing techniques to create stencil prints on paper. Watanabe’s compositions of Biblical subjects are highly legible and direct, channeling the iconographic clarity of early medieval Christian art. At the same time, his works resonated with the mingei movement, which

celebrated the beauty of handmade objects meant for ordinary people. Drawn from recent gifts to the collection that have made the Portland Art Museum the largest public collection of the artist’s work in the world, this exhibition explores Watanabe’s unique artistry and expressive power over several decades. The exhibition includes several of his rare original stencils, beautiful enough to be works of art in themselves. Curated by Jeannie Kenmotsu, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art. Support provided by the Mary D. and Thomas W. Holman Endowment for Asian Art and Exhibition Series Fund.

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PRINTS OF DARKNESS The Modern Mezzotint DECEMBER 12, 2026 – NOVEMBER 14, 2027 GALLERIES 006, 007 Prized for its ability to create velvety, dark, and subtle surfaces, mezzotint is a printmaking process in which the artist works from dark to light, coaxing the image from the shadows. For centuries, it was primarily used to make reproductions of paintings. In the 20th and 21st centuries, however, mezzotint has become a medium of unique creative expression and technical experimentation, often incorporating color. Prints of Darkness explores modern and contemporary mezzotints from Eastern and Western Europe, North America, and East Asia in subjects including still life, fantasy, and landscape. Drawn exclusively from the Museum collection, Prints of Darkness features numerous recent acquisitions on view for the first time. The show highlights work by the modern mezzotint revivalists Mario Avati and Hamaguchi Yōzō as well as

LEFT: Watanabe Sadao (Japanese, 1913–1996), The Last Supper, 1970, color stencil print on momigami paper; katazome-hanga, The Vivian and Gordon Gilkey Graphic Arts Collection. Portland Art Museum, Portland, Oregon, 79.50.205. © Watanabe Tatsuo; TOP: Watanabe Sadao (Japanese, 1913–1996), A Modern Madonna, 1984, color stencil print on momigami paper; katazome-hanga, Gift of Anne H. H. and Kenneth B. Pyle, © Watanabe Tatsuo, 2022.8.34.

FRANK MATSURA, PHOTOGRAPHER Local, Affable, Magnificent MARCH 20 – SEPTEMBER 26, 2027 GALLERIES 217 Photographer Frank Sakae Matsura moved to the United States from Japan in 1903. After living in Seattle and Alaska, in 1907 he made his way to Conconully, Washington, near the western border of the Colville Indian Reservation. He eventually opened a photography studio in bustling Okanogan, where townspeople and tribal members regularly sat for their portraits. These pictures remain important ancestral touchstones for many current Colville residents, and Matsura’s memory is celebrated throughout the region to this day.

contemporary practitioners including Hamanishi Katsunori, Judith Rothchild, and Carol Wax.

Matsura was skilled in traditional portrait composition and execution, and many of his photographs are delightfully candid and demonstrate great trust in, and fondness for, the only Japanese resident of Okanogan. The exhibition highlights images of sitters who would morph from buttoned-up, severe postures into relaxed, joyful, and even hilarious poses. In a highly unusual move for a studio photographer, Matsura frequently included himself in his clients’ portraits. His one-of-a-kind compositions remain a testament to the community-building power of photography in small-town America.

Curated by Mary Weaver Chapin, Ph.D., Senior Curator of Prints and Drawings, and Jeannie Kenmotsu, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art.

Curated by Julia Dolan, Ph.D., Interim Chief Curator and The Minor White Senior Curator of Photography. Supported by the Kinsman Foundation and Exhibition Series Fund.

CENTER TOP: Judith Rothchild (American, born 1950), Saint-André Hydrangea, 2020, mezzotint on paper © Judith Rothchild. Gift of Norm and Eva Rickles, by exchange, 2025.71.2; MIDDLE: Itō Wako (Japanese, born 1945), Still Life with Oranges, 1980s, color mezzotint on paper, The Carol and Seymour Haber Collection. Portland Art Museum, Portland, Oregon, 1998.52.5; RIGHT: Frank S. Matsura (Japanese, 1873–1913), Frank Matsura and Cecile Jim Lakeekin, ca. 1910, gelatin silver print, Washington State University Manuscripts, Archives, and Special Collections, Frank S. Matsura Collection.

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DATA CONSCIOUSNESS Reframing Blackness in Contemporary Print JANUARY 30 – AUGUST 22, 2027 GALLERIES 112, 113, 114 Inspired by W.E.B. Du Bois’s legacy, Data Consciousness: Reframing Blackness in Contemporary Print is a landmark exhibition that brings together leading Black contemporary artists who use printmaking, sculpture, and multimedia to examine the intersections of race, technology, identity, and representation in a data-driven world. Curated by Tiffany E. Barber, the exhibition features work by Tahir Hemphill, Julia Mallory, Silas Munro, Kameelah Janan Rasheed, and William Villalongo and Shraddha Ramani.

Data Consciousness draws inspiration from W.E.B. Du Bois’s concept of double consciousness and his pioneering data visualizations, which mapped Black life after Reconstruction and remain foundational to American design history and data science. Data Consciousness: Reframing Blackness in Contemporary Print is organized by Print Center New York and curated by Tiffany Barber, Assistant Professor of African American Art at the University of California, Los Angeles.

William Villalongo and Shraddha Ramani, Black Migration to the U.S. (1/2), 2025, lithograph, screenprint, and collaged digital print, © Villalongo Studio, Shraddha Ramani, and Graphicstudio, University of South Florida, Tampa. Image courtesy Graphicstudio. Photo: Will Lytch.

Support for this exhibition tour is provided by Art Bridges. The Portland Art Museum’s presentation of Data Consciousness is coordinated by Jaleesa Johnston, Assistant Curator of Black Art and Experiences, and supported by the Black Art and Experiences Initiative. Funding for the Black Art and Experiences Initiative comes from a generous grant from the 1803 Fund. Additional support provided by Meyer Memorial Trust and the Endowment for Black Art and Experiences.

TITUS KAPHAR Ascension MARCH 13 – SEPTEMBER 19, 2027 GALLERY 001, M04 This expansive exhibition illuminates Titus Kaphar’s exploration of spirituality in contemporary life through multifaceted reflections on the transformative rituals common across religious, artistic, and athletic practices. Kaphar asks: In our digital age, where do we turn for transcendent experiences? Imagining the museum’s galleries as devotional spaces, Kaphar asks us to slow our pace and allow our senses to transport us to a place of deeper connection across cultural experiences. This unprecedented presentation promises to reach broad audiences with a new way of engaging the work of this renowned creative storyteller. The exhibition begins in the Blair Family Gallery with an environment devoted to the potential for transcendence that arises when we gather together in search of the otherworldly. Driven by Kaphar’s interest in multisensory encounters with his work, a combination of film, new media, and immersive light and sound transforms the gallery and his sculpture, drawings, and paintings within it. We are encouraged to open up to a sense of wonder and ready ourselves for the Crumpacker Center above. Ascending to this gallery, Kaphar calls us into a space reminiscent of sacred architecture where art is set apart for prayerful contemplation. Here, paintings reflect on the elevation of celebrated athletes, painted in the style of the High Renaissance and embellished with gold leaf. Carved wooden sculptures place individuals

Titus Kaphar, Novel Iconographies I, 2024

from Kaphar’s life into divine roles of saints and angels, suggesting that the everyday heroes all around us are figures we also revere. Embracing art, film, and immersive spatial design, the exhibition places us in relationship to the human desire to witness mystery and find meaning through the transcendent experiences that draw us together.

Curated by Sara Krajewski, PAM’s Eichholz Senior Curator of Modern and Contemporary Art, and Amy Dotson, Director of PAM CUT and Curator of Film & New Media at PAM. Supported by KHR McNeely Family Foundation, 1803 Fund, Black Art & Experiences Endowment, and Exhibition Series Fund.

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GERMAN EXPRESSIONISM IN ART AND FILM FEBRUARY 6 – JULY 11, 2027 GALLERIES 101, 110, 212, 213 The global trauma of the First World War (1914–1918) was most strongly felt in the country that lost: Germany. Onerous reparations, hyperinflation of currency, and mass unemployment left large swaths of the population in despair and anxious for the future. Artists captured this sense of anxiety through the lenses of psychoanalysis and left-wing ideology, but also through revived popular art media like woodcut prints and lithographs, resulting in a new style called Expressionism. They organized in

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several German cities, publishing magazines like Die Brücke, Der Blaue Reiter, Der Sturm, Die Aktion, and Der Bildermann, among others. Expressionist style also had a huge impact on the new mass media of cinema, which was offering a collective way to experience a whole range of stories, ranging from fables like Nosferatu and Golem to new, socially critical narratives like Metropolis and Nerven (Nerves). German Expressionism in Art and Film is the first exhibition to fully explore

this shared style through approximately 120 prints and paintings that are joined with 50 film clips and stills. Visitors will be immersed in the movement that has come to symbolize a generation’s trauma and search for healing in these years during the Weimar Republic through to the Second World War. The movement will be explored in three sections. In Rupture and Escape, we see the emergence of an emotionally exaggerated artistic style that exposes the psychological impact of economic hardship, industrialization, and urbanization. Friedrich Murnau’s

provocative The Last Man and Fritz Lang’s masterpiece Metropolis are paired with expressive woodcuts by George Grosz, Otto Dix, and Käthe Kollwitz. In Dream and Trauma, the shattering personal and psychological effects of the war are explored by artists like Ernst Ludwig Kirchner, Emil Nolde, and Max Pechstein, as well as films like Robert Reinert’s Nerven (Nerves) and Lang’s Dr. Mabuse, the Gambler. Finally, in Form and Deformation, we see the refinement of an Expressionist aesthetic as it developed from films like Robert Weine’s The Cabinet of Dr. Caligari, with entire Expressionistic stage sets to the fully filmic productions like Karlheinz Martin’s From Morning to Midnight. These are paired with works of art by Gabriele Münter, Erich Heckel, and August Macke. Throughout the exhibition, PAM CUT @ The Whitsell and PAM CUT’s Tomorrow Theater will screen films in conjunction with German Expressionism in Art and Film. Expressionism continued during the rise of the Third Reich, which declared

most Expressionist art “degenerate” and sought to expose it to derision and dismissal, unintentionally amplifying its reach and popularity. Expressionism has had an enduring impact, giving rise to the horror film and film noir, as well as Neo-Expressionist art in Germany and beyond, and is foundational to much figurative art today. Organized by Institut für Kulturaustausch and coordinated for Portland Art Museum by Lloyd DeWitt, Ph.D, The Richard and Janet Geary Curator of European & American Art Pre-1930. Supported by the Laura S. and Roger S. Meier Endowment for European Art and Exhibition Series Fund.

OPPOSITE LEFT: Paula Modersohn-Becker, Landschaft mit drei Kindern und einer Ziege (Landscape with Three Children and a Goat), 1902, Lentos Kunstmuseum, Linz; TOP: Metropolis, Director: Fritz Lang, Screenplay Thea von Harbou, 1927, Friedrich-Wilhelm-Murnau-Stiftung; BOTTOM LEFT: Käthe Kollwitz, Brot (Bread), 1924, lithograph, Municipal Museum, Tübingen, Germany; BOTTOM RIGHT: Edouard Dollerschell, Wenn er Kommt (When He Comes), 1919, woodcut, LETTER Stiftung, Cologne.

Member Preview Day February 5, 2027 As a benefit of membership, PAM members are invited to view this exhibition one day early—before it opens to the public! No need to reserve tickets in advance: simply check in at the front desk with your membership card or valid photo ID to verify your membership for admission.

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UPCOMING

M.C. ESCHER Infinite Variations AUGUST 15, 2027 – JANUARY 9, 2028 M.C. Escher’s internationally known and fantastical prints are coming to Portland! Located at the nexus of art, mathematics, and science, his work playfully explores multidimensional realities, visual puzzles, and decorative patterning. The exhibition includes early figure drawings, lesser-known book illustrations, detailed Italian landscapes, transformations in which fish morph into birds and the birds morph into horses, and his signature architectural fantasies with stairways seeming to go both up and down.

that you will be on a higher plane when you walk up a staircase?” Such questions fueled his work, perplexing and delighting viewers. He even challenged his identity as an artist; he once puzzled an interviewer by referring to himself as a mathematician instead. “This is a marvelous opportunity for viewers to see the full scope of Escher’s work,” said Mary Weaver Chapin, Ph.D., Senior Curator of Prints and Drawings. “While many people are familiar with his visual puzzles, this exhibition covers the length of his career as well as his working process and printing technique. I am delighted to share rare drawings and even the woodblocks he used to create these mesmerizing prints.”

collector. Visitors will see woodcuts, lithographs, etchings, and the blocks he used to make them. Among the objects are some of his most iconic pieces, including Day and Night, in which two flocks of birds in flight blend into Holland’s landscape, and Ascending and Descending, a 1960 print of an impossible building with a reality-defying staircase that always goes up yet ends where it began. Traveling exhibition provided by PANART Connections. The Portland Art Museum’s presentation is curated by Mary Weaver Chapin, Ph.D., Senior Curator of Prints and Drawings.

Member Preview Day AUGUST 14, 2027 As a benefit of membership, PAM members are invited to view this exhibition one day early—before it opens to the public!

Escher famously challenged visual realities. “Are you really sure that a floor can’t also be a ceiling?” asked Escher. “Are you definitely convinced

M.C. Escher: Infinite Variations is drawn from an extensive private collection and augmented by work from the Portland Art Museum and a local

M.C. Escher (Dutch, 1898–1972), Day and Night, 1938, woodcut in black and grey, printed from two blocks, image: 15 7/16 x 26 5/8 inches. Gift of Mr. George O’Leary, 2019.89.16. M.C. Escher images are copyright of the M. C. Escher Co.

PORTLAND ART MUSEUM

NEWS & NOTEWORTHY

program become realized over the next several months. Wilder adds:

“I look forward to continuing the work in increasing access to our cohort’s collections while working alongside a coalition of collaborative partners who are interested in cultural education and preservation.”

ART BRIDGES COHORT SUPPORTS ART SHARING ACROSS OREGON In 2022, the Art Bridges Foundation identified the Portland Art Museum as a partner in its nationwide effort to support the development of art museums and arts organizations across the country. The Art Bridges Cohort Program is bringing together four Oregon cultural institutions to facilitate sharing collections with the goal of connecting and providing arts education opportunities to our communities. Since the start of this planning, Art Center East, Chachalu Museum & Cultural Center of Grand Ronde, and High Desert Museum have remained our committed partners in this endeavor. Our years of brainstorming, convening, and being in conversation aim to foster long-term partnerships while addressing the rural-urban divide in the arts. Later this winter, our cohort will kick off with our

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first art sharing program, borrowing works from each organization to add to our individual exhibitions and deepen the context of our programs. As part of this multi-year endeavor, this past spring, we had the opportunity to grow our Art Bridges Cohort team at the Museum with Lily Batty, Art Bridges Collections Care Apprentice, and Hayashi Teena Wilder, the Art Bridges Curatorial Project Coordinator. Some of our members may remember Wilder as the previous Art Bridges Community Partnerships and Curatorial Fellow. As a three-year fellow, Wilder worked closely with the Curatorial and Learning departments as we worked to establish the cohort program, so it is especially exciting to have them back in this role as we work together to see the exciting plans of our cohort

Lily Batty’s apprenticeship is under the guidance of our Collections team, focused in the Registrar’s department. With an immersive apprenticeship program overseen by Art Bridges in partnership with Ki Culture, an international nonprofit committed to encouraging sustainable environmental practices within cultural institutions, Batty will receive an in-depth learning experience about collections care and sustainability practices while supporting the work of the Art Bridges cohort program. In thinking about the deeper values of the program, Batty says: “The program is an incredible opportunity to look beyond our own collections and borrow and display art that otherwise might never be seen by the cohort members’ respective audiences, and to more broadly assess the sustainability and accessibility of our loaning and borrowing practices.”

Lexy Hartford, Associate Registrar for Collections; Lily Batty, Art Bridges Collections Care Apprentice; and Hayashi Wilder, Art Bridges Curatorial Project Coordinator, on a recent visit to the Chachalu Museum & Cultural Center of Confederated Tribes of Grand Ronde. Photo by Grace Kook-Anderson.

HAVE ART, WILL TRAVEL How PAM shares its collection with the world BY JULIA DOLAN, PH.D., INTERIM CHIEF CURATOR AND THE MINOR WHITE SENIOR CURATOR OF PHOTOGRAPHY

On any given day, artwork from PAM’s permanent collection travels the world. National and international museums borrow works from our permanent collection of more than 50,000 artworks in order to tell a more complete story about a featured artist or a particular subject. We are proud to share our holdings with colleagues far and wide. They often return the favor by sharing treasures from their own collections with us here in Portland. Currently, 17 important photographs from the Museum are touring Spain. They are featured in the exhibition Minor White, a major overview of the renowned American photographer’s work at Fundación MAPFRE. Critical to MAPFRE’s story are White’s earliest professional photographs, which were made in Portland and Eastern Oregon during the late 1930s. PAM is one of

Installation view of Minor White at Fundación MAPFRE.

the only museums to hold these early prints, and museums regularly request to borrow them. The lending process—from initial request to final installation—is extensive, and often begins one or two years before an exhibition opens. The museum hosting a new exhibition reaches out to PAM to formally request the object or objects, listing the reasons why works from our collection are key to their exhibition idea. From there, the collections team begins record-keeping and the artwork is reviewed by our conservators and our curators, who present any internally approved request to the Museum’s Collections Committee for final approval or denial of the request. Once approval is finalized, crates are built, the artwork is readied, and shipping is arranged. Depending on the artwork to be loaned, a PAM staff member may accompany the work on its journey to be sure of its safety during

shipping and proper installation at the borrowing museum. While we strive to lend whenever and wherever possible, there are times when artwork is needed here in Portland and we must decline requests. Which are the most requested works in PAM’s collection? You’ve likely already guessed: Claude Monet’s Nymphéas (Waterlilies), and Chaim Soutine’s Le Petit Pâtissier (The Little Pastry Cook)!

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PAM PARTNERSHIP BRINGS CONTEMPORARY NATIVE ART INTO NATION’S CLASSROOMS Contemporary Native American art offers one of our most powerful tools for countering stereotypes and asserting the ongoing presence and vitality of Native peoples and cultures. However, very few resources on contemporary Native art have been available to K-12 educators and students—that is, until now. This past spring, the Portland Art Museum, in collaboration with artist Jeffrey Gibson, SITE Santa Fe, the Smithsonian’s National Museum of the American Indian (NMAI), and a cohort of 10 educators, launched MORE COLORS THAN THE EYE CAN SEE: An Education Initiative Inspired by the Art of Jeffrey Gibson.

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The project was established in 2024 as a key component of Gibson’s vision for the space in which to place me, his solo exhibition for the U.S. Pavilion at the 60th Venice Biennale, commissioned by Portland Art Museum (PAM) and SITE Santa Fe (SITE). With the spring 2026 launch, teachers now have access to in-depth and accessible teaching resources freely available across two complementary platforms: NMAI’s Native Knowledge 360° (NK360°) Artist Spotlight and the Jeffrey Gibson 2024 Venice Biennale website. The websites feature video interviews with the artist and curators; slideshows of Gibson’s work and related objects in NMAI’s and PAM’s collections; essays exploring

Gibson’s cultural and artistic sources of inspiration; and 14 interdisciplinary K-12 lessons addressing not only art, but also English, history, and math. We launched the resources over the course of two weeks in March. First, PAM, SITE, and NMAI staff joined Gibson and educator cohort

members in Chicago at the National Art Education Association Conference, the major annual gathering of art teachers from around the country. Together, we offered six presentations and workshops, including Gibson’s keynote address; packed every event room; and drew over 2,000 participants. The following weekend, the team moved to Portland, where Gibson headed a panel discussion in the Kridel Ballroom and kicked off an educator symposium the following day. Educator cohort members led hands-on workshops so local teachers could experience the lessons themselves. As one participant shared afterward, “Loved the lecture and then the workshops format. Loved the amazing websites they have created! Wonderful experience and will def use what I learned directly in the classroom!” Over the coming year, NMAI, SITE, and PAM staff will continue to lead educator workshops around the country with planning already in progress on a half dozen events including additional partners, such as the Crystal Bridges Museum of Art in Bentonville, Arkansas,

and the National Gallery of Art in Washington, D.C. Please scan these codes to explore the websites and share them with educators and students in your life.

americanindian.si.edu/ nk360/jeffrey-gibson

jeffreygibsonvenice2024. org/k-12-educationresources

WHAT’S HIDING INSIDE OUR COLLECTION? BY CHARLOTTE AMERINGER, CHIEF CONSERVATOR

What if you could pull up a chair next to an artist who died 150 years ago and watch them work? Technical art history is about as close as we can get, and two recent conservation projects show just how much it can uncover. The first focuses on Eugène Delacroix’s Christ on the Lake of Genesareth. The preparatory oil sketch for PAM’s

painting is held by the Nelson-Atkins Museum in Kansas City, giving us a rare opportunity to compare the two works. In collaboration with colleagues at the Nelson-Atkins, and with support from the Nelson-Atkins endowment for scientific research from the Mellon Foundation, we used infrared imaging, X-ray fluorescence (XRF) elemental mapping, and paint samples smaller

offering a glimpse into the artist’s working process.

than a speck of dust to look beneath the surface. What we found was revealing. The underdrawings differ, composition changes, and Delacroix’s color choices and the way he applied and built up his paint layers vary between the sketch and the finished painting. Together, these clues reveal the evolution from first idea to final painting,

Our second project takes us nearly 2,000 years back to ancient Syria. PAM’s limestone funerary busts from Palmyra bear Aramaic inscriptions identifying the people, their families, and their social status. Visiting researchers used Reflectance Transformation Imaging (RTI), a technique that combines photographs taken under dozens of different lighting angles. The resulting images revealed details that have worn away over time, including portions of inscriptions that are difficult to read with the “naked” or unaided eye. Two projects. Two different worlds. Yet both bring us closer to the people who created the artworks in our care, reminding us that the artists behind these works are not as far away as they seem. Learn more about the Museum’s art conservation at portlandartmuseum. org/collection/conservation.

LEFT: Eugene Delacroix, Christ on the Lake of Genesareth, 1853, oil on canvas, Gift of Mrs. William Mead Ladd and her children: William Sargent Ladd, Charles Thornton Ladd, and Henry Andrews Ladd in memory of William Mead Ladd, 31.4; Figure 3: 31.4, composite image showing various technical examination methods used, from L to R: normal appearance, underdrawing revealed by infrared reflectography, ultraviolet fluorescence, distributions (in false color) of pigment elements by XRF mapping - including iron, potassium, titanium on the left, and zinc, chromium, potassium on the right. RIGHT: Unknown Palmyrene artist, Funerary Portrait: Yarkhai, Sabdibel and Yarkhibonna, 150/200 CE, limestone, Gift of Mr. Aziz E. Atiyeh, 54.2; 54.2, detail, RTI photography. ©WPAIP, photo by J. M. Hutton and C. T. Knaack

MORE TO DISCOVER AT THE 2026 PORTLAND BOOK FESTIVAL The Portland Book Festival returns to the South Park Blocks and for the first time, the celebration will expand beyond a single day into a weeklong festival of stories and creative experiences from November 2–8, 2026. As the festival’s longtime headquarters, Portland Art Museum has welcomed thousands of readers through its doors each year. This fall we’re excited to help create an even richer experience, joining Literary Arts and a remarkable group of cultural partners to bring downtown to life through art, music, food, conversation, and community. The Museum’s Free First Thursday on November 5 will be a special Portland Book Festival edition.

Beyond the Museum, festival week will feature events in and around the Cultural District with new partners in the festival expansion such as Oregon Symphony, Revolution Hall, 45th Parallel, and Food Forward Oregon and culminates in the beloved Portland Book Festival with acclaimed authors, conversations, and book signings.

More information is coming soon about the many ways to enjoy the festival and related programming. We look forward to welcoming you for one of Portland’s most anticipated cultural weeks.

Festival day is Saturday, November 7, where visitors can once again enjoy dozens of pop-up author readings throughout the Museum’s galleries. With last year’s opening of PAM’s transformed campus, even more gallery spaces will come alive with writers, readers, and unexpected moments of discovery alongside the Museum’s collection.

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FROM GALLERY TO PAGE PAM’s curatorial team is in an active publication period, with one new book recently released and two exhibition catalogues on the horizon. These beautifully illustrated books are important for many reasons: they document original, home-grown exhibitions, gather new scholarship and interviews with artists and community members into a single resource, and share the exhibitions’ themes with people around the world. With over 20 different shows on view each year, our publications serve as long-lasting touchstones to the Museum’s programs.

Lisa Jarrett: Tenderhead

Yoshida Chizuko EDITED BY JEANNIE KENMOTSU, PH.D., ARLENE AND HAROLD SCHNITZER

PUBLISHED MAY 21, 2026 Lisa Jarrett: Tenderhead is an exhibition catalogue published by the Portland Art Museum. It documents Jarrett’s exhibition Tenderhead and contextualizes her work with an introduction by exhibition co-curator Sara Krajewski, an essay by Jasmine Nichole Cobb, Ph.D., and a conversation with Jarrett and exhibition co-curator Jaleesa Johnston and Dr. Kiara Hill. Jarrett is a Portland-based artist, educator, and curator who has spent more than 17 years investigating Black hair and its care. In Tenderhead, Jarrett uses the materials of the beauty supply store to explore migration and trace lost familial histories while considering the complexities of what it means to be tenderheaded within Black woman and girlhood. Each copy features a unique cover reprint of one of the mannequin portraits from Jarrett’s 503 Wig Mannequin Portraits and 1 Portrait of Diana Ross (Beauty and Beyond) installation. Reminiscent of an artist book, this catalogue richly illustrates the multitude of layers, textures, and materials present in Jarrett’s first solo museum show. Fully illustrated.

CURATOR OF ASIAN ART

PUBLISHES IN FEBRUARY 2027

Black Artists of Oregon PUBLISHES IN FALL 2026 Celebrating a landmark moment in Oregon art history, this publication preserves the legacy of the 2022 exhibition Black Artists of Oregon. The project began in 2018 with foundational research by artist and curator Intisar Abioto, who shaped the exhibition around African diasporic traditions of listening, honoring, and passing on collective stories. As a standalone anthology, this book gathers visual documentation, interviews, and panel transcriptions to honor the experiences, artists, and vibrant community that brought this historic exhibition to life.

TOP MIDDLE: Richard Brown (American, born 1939), Young Girl at Art Museum, ca. 1985, gelatin silver print. Image courtesy of the artist,© Richard Brown. Photograph was reproduced as a wall mural for the exhibition Black Artists of Oregon, 2023; RIGHT: Yoshida Chizuko painting in the mountains near Yashigamine, 1951. Courtesy Estate of Yoshida Chizuko. Photograph was reproduced as a wall mural for the exhibition Yoshida Chizuko, 2025.

Although considered the most avant-garde member of her family, Yoshida Chizuko’s legacy has long been overshadowed by her husband and father-in-law. Following the groundbreaking retrospective exhibition of the artist’s work at the Portland Art Museum in 2025–26, this ambitious publication is the first full-length study to bring her work to the forefront, charting her 60year engagement with abstraction, printmaking, and nature-inspired imagery. Featuring over 100 works of art—many published for the first time— the volume is authored by exhibition curator Jeannie Kenmotsu, with additional essays by Hollis Goodall, Noriko Kuwahara, and Ayomi Yoshida. Together, they restore Chizuko to her rightful place in the postwar Creative Print movement and expand the global discourse on 20th-century printmaking, modern art, and the unique challenges facing midcentury women artists in postwar Japan.

PAM CUT

PAM CUT @ THE WHITSELL

FALL AT THE TOMORROW THEATER This fall, PAM CUT’s Tomorrow Theater is thrilled to introduce Laugh Tracks, a new monthly comedy series showcasing some of the most exciting rising voices in stand-up. Tightly curated, with a soft focus on women and queer perspectives, the series offers audiences a chance to discover tomorrow’s comedy stars today. You can also catch regular performances from L.A.-based troupe Holy Shit! Improv, along with recurring CineWhimsy appearances from Gosh Darn Delightful.

Alongside our expanded live events lineup, we’ll continue fan-favorite monthly programs, including Movie Book Club, featuring the Bret Easton Ellis novel-turned-film American Psycho; Movie Bingo, with the

PORTLAND ART MUSEUM

camp classic Party Monster (2003); Crafternoons, hosted by Ritual Dyes; and monthly merchandise drops from Brain Dead. Not quite ready for fall? Soak up the final heat of summer with our August Meltdown series, featuring films with the heat dialed all the way up, including Body Heat, Do the Right Thing, Rear Window, The Talented Mr. Ripley, and Call Me by Your Name. This summer, filmmaker Jane Schoenbrun and actor-comedian Hannah Einbinder joined us for a special sneak preview of their new sapphic slasher, Teenage Sex and Death at Camp Miasma. We also launched our new Fan Club, giving PAM CUT superfans insider access to advance screenings, exclusive offers, and discounts at the Tomorrow Theater. Don’t miss our incredible fall lineup! Stay tuned to tomorrowtheater.org or @pam_cut on Instagram for all the latest PAM CUT screenings and experiences.

A destination in the heart of Portland, the Whitsell Auditorium is PAM CUT’s cinematic home at the reimagined Portland Art Museum. Located on Level 0 of the new Mark Rothko Pavilion, PAM CUT @ The Whitsell showcases work by media artists, storytellers, filmmakers, and visionaries that push the boundaries of film as an art form. With screenings held every Saturday and Sunday at 2 p.m., the Whitsell features chic, distinctive, and elevated exhibition-style programming in a topof-the-line renovated space.

35mm Film and Evening Screenings Return to the Whitsell! We are thrilled to announce the return of 35mm film to PAM CUT @ The Whitsell. Film prints will be announced monthly and rolling out throughout the year! Also coming back: Evening screenings! Stay tuned as we continue to expand our offerings, reach new audiences, and offer new opportunities to engage with the art of cinematic storytelling. Don’t forget to use your discount code online or present your membership card at admission to receive your member discount.

2026 CINEMA UNBOUND AWARDS

PAM CUT // Center for an Untold Tomorrow, the Portland Art Museum’s home for boundary-defying film and new media, wrapped its first-ever Cinema Unbound Week (May 23–31, 2026) after six days of packed public programming and a Seventh Annual Cinema Unbound Awards gala that exceeded its fundraising goal, raising over half a million dollars to power a year of unbound work.

What began as a single awards night grew this year into a week-long citywide celebration. Film, fashion, music, comedy, and culinary artists spilled out of the Museum into the streets and Tomorrow Theater, anchored by an awards ceremony that honorees and presenters repeatedly described as unlike any gala they’d attended.

“2026 marks the year we bust free of even this container and become Cinema Unbound Week,” PAM CUT Director Amy Dotson told the room. “PAM CUT and Portland are no longer content to be contained—because cinematic storytelling does not live on a screen. It is everywhere you look.” Cinema Unbound Week marked PAM CUT’s biggest public footprint to date, and audiences answered: Nearly every event sold out, with more than 16,000 participants. Nearly 2.5 million Portlanders and fans from around the world engaged with Cinema Unbound Week across social media, an all-time record. Highlights included: • The 7th Annual Cinema Unbound Awards, honoring Titus Kaphar, Wildfang’s Emma McIlroy, and Maria Bamford. • PAM CUT x Criterion: The famed Criterion Mobile Closet rolled into Portland for the first time, alongside a Criterion takeover of PAM CUT @ The Whitsell and their first live taping of the Criterion Channel’s Adventures in Moviegoing with Fred Armisen & Carrie Brownstein.

Dotson used the night to chart how far the organization has come: from handbuilt drive-ins in gravel pits during the pandemic to PAM CUT’s Tomorrow Theater, now one of the highestgrossing single-screen movie theaters in the country, serving 65,000 people a year, many of whom are new to the Portland Art Museum community. In the past year alone, PAM CUT hosted 350 one-night-only events and grew its audience by 60% since July 2025.

• PAM CUT x Portland Fire: PDX Makers Night with Portland’s new WNBA expansion team included a limitededition PAM CUT print.

For more information about PAM CUT and its Tomorrow Theater programs, please visit tomorrowtheater.org or IG: pam_cut.

• Japanese Breakfast’s Michelle Zauner read from her new unpublished work at PAM CUT’s Tomorrow Theater. • An Unbound Comedy Weekend featuring a screening of the documentary Paralyzed by Hope: The Maria Bamford Story co-directed by Neil Berkeley and Judd Apatow and featured at this year’s Sundance, with Bamford in person, plus an evening with Holy Shit! Improv.

PORTLAND ART MUSEUM

ONE MEMBERSHIP. ONE MUSEUM. More Ways to Experience Art.

2026 PAM CUT SUSTAINABILITY LABS HELP CREATIVE STORYTELLERS THRIVE Now in its fifth year, PAM CUT’s Sustainability Labs program was created to help artists harness and expand their creative and business talents across multiple platforms. This year’s Sustainability Labs in May featured fellows from Portland (Mai Ide and Veronica Graham), New York (Peter Burr), Seattle (Kamari Bright), and Chicago (Asuka Lin) working in mediums including XR, fashion, installation, film, video, animation, and graphic arts.

services designed to help support the sustained creative, financial, and personal growth of creative storytellers. Learn more at portlandartmuseum.org/artistservices.

As in years past, each fellow was paired with an accomplished mentor. This year’s mentors included animator and XR artist Rose Bond, filmmaker Sam Green, performance artist Julia Calabrese, creative producer Scarlett Kim, and interactive artist Lance Weiler. Over the course of a week, the fellows worked with guest speakers and workshop leaders, toured creative facilities, attended PAM CUT’s Cinema Unbound Awards, and gave a pitch at Wieden + Kennedy to a panel of creative industry professionals. The Sustainability Labs are part of PAM CUT’s Artist Services, a range of

TOP: Sustainability Labs Fellows touring Desert Island Studios; RIGHT: Sustainability Labs fellow Mai Ide, Head of Artist Services Ben Popp, and Sustainability Labs fellow Kamari Bright at the 2026 Cinema Unbound Awards.

Your Portland Art Museum membership includes more than admission to the galleries. Enjoy member pricing on films and programs presented by PAM CUT at the Museum’s Whitsell Auditorium and Tomorrow Theater, along with exhibitions, lectures, and events—all through one membership.

MEMBERS & PATRONS

MEMBERS A Year to Celebrate! What an incredible year it has been! As we celebrate the Museum’s 134th anniversary along with the first anniversary of the grand opening of our Mark Rothko Pavilion, we’re grateful for the loyalty of our longtime members and the addition of more than 5,000 new member households, making our Museum community more vibrant than ever. Thank you for being an essential part of the Portland Art Museum—we look forward to sharing another exceptional year of world-class exhibitions, inspiring programs, and exclusive member experiences with you.

Top ways to use your Membership • Free admission all year long • Member pricing for films and programs at the Whitsell and Tomorrow Theater • Access to special programs, events, camps, and classes • Reciprocal admission at 50+ museums for the Friend level and above • 10% off at the Shop at PAM

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MEMBER EXCLUSIVES Mark your calendar and save the date for these special members-only opportunities!

Member Preview Days

134th Annual Members Meeting

As a benefit of membership, PAM members are invited to view our special exhibitions one day early— before they open to the public!

TUESDAY, OCTOBER 13, 2026

MEMBER PREVIEW

The Stars We Do Not See: Australian Indigenous Art SEPTEMBER 4, 2026

We’re pleased to invite you to our 134th Annual Members Meeting! Members will hear from curators, trustees, and special guest speakers, get updates about exciting upcoming exhibitions, and elect new trustees for the year to come. This year’s meeting will also feature a special welcome to the Portland Art Museum’s new director. Hear about our vision for the Museum’s future as we celebrate all we’ve accomplished together and look ahead to an exciting new chapter! Watch your email inbox for more information coming soon.

Fall Members Open House THURSDAY, NOVEMBER 12, 2026

MEMBER PREVIEW

German Expressionism in Art and Film FEBRUARY 5, 2027

No need to reserve tickets in advance: simply check in at the front desk with your membership card or valid photo ID to verify your membership for admission.

Kick off the fall season with an evening of art, conversation, and discovery! Enjoy after-hours gallery access and hear from Museum curators as they share fresh perspectives on our collections and exhibitions. You’ll also have the opportunity to connect with artists and Learning Guides throughout the galleries and participate in handson activities designed to deepen your experience at this fun and engaging evening created exclusively for our member community.

The Shop at PAM Members Sale DECEMBER 4-6, 2026

Find something special this holiday season while enjoying one of your favorite member benefits! Members receive an additional 10% off all regular-priced merchandise at The Shop at PAM, bringing your total member savings to 20%.* From art-inspired gifts and books to jewelry, home décor, and unique finds, it’s the perfect time to shop for everyone on your list. *Additional discount applies to inperson purchases only.

Watch your email inbox for more information coming soon.

TOP: Jakayu Biljabu, Yikartu Bumba, May Chapman, Nyanjilpayi Nancy Chapman, Doreen Chapman, Linda James, Donna Loxton, Mulyatingki Marney, Reena Rogers, Beatrice Simpson, Ronelle Simpson and Muntararr Rosie Williams, Ngayarta Kujarra, 2009, National Gallery of Victoria, Melbourne, Felton Bequest, 2011, © The artists, courtesy Martumili Artists, Newman; Film still from Nosferatu.

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Tips for Getting the Most Out of Your Membership

Your Membership Goes Beyond Portland Members at the Friend level ($179) and above enjoy reciprocal admission at more than 50 museums across North America, including Seattle Art Museum and the Fine Arts Museums of San Francisco. Whether you’re planning a weekend getaway or a cross-country adventure, your membership can help you experience even more great art. Interested in unlocking reciprocal admission? Upgrade your membership today by calling 503-276-4249. We’d be happy to help! Scan code for a complete list of participating museums.

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SEE WHAT’S HAPPENING AT THE TOMORROW THEATER

When booking tickets online, sign in using the email associated with your membership and select the Member ticket type to receive your complimentary admission.

The Museum’s eastside hub for cinema, creative storytelling, and multimedia programs. PAM members receive $5 off tickets!

SAVE YOUR DIGITAL MEMBERSHIP CARD

Show your membership card at The Shop at PAM to receive 10% off books, design objects, and gifts.

Download your digital card to your phone so it’s always handy when you arrive at the Museum. DON’T MISS MEMBER FILM PRICING Members receive $10 tickets for films at the Whitsell Auditorium—one of the best cultural deals in the city.

REMEMBER YOUR SHOP DISCOUNT

CHECK YOUR INBOX FOR SPECIAL OPPORTUNITIES Members regularly receive presales, discount codes, and special event invitations via email. Be sure we have your current email address on file so you don’t miss a thing!

USE YOUR MEMBERSHIP WHEN TRAVELING Members at the Friend ($179) level and above enjoy reciprocal admission at more than 50 major museums across North America— perfect for adding art to your travel plans.

Seattle Art Museum; Photo: Benjamin Benschneider.

Renewing Is Easy ONLINE pam.to/membership IN PERSON Museum Admissions Desk BY PHONE 503-276-4249

Never Miss a Moment with Automatic Renewal Enjoy uninterrupted access to everything your membership offers by enrolling in Automatic Renewal— available for every membership level. WITH AUTOMATIC RENEWAL, YOU’LL: • Enjoy uninterrupted member benefits all year long • Never miss member previews, programs, or special offers • Skip renewal reminders and paperwork • Continue supporting the Museum’s mission with ease Simply call 503-276-4249 to enroll or select the auto-renewal option online when renewing your membership.

Thank you for your continued membership support.

PORTLAND ART MUSEUM

PATRON SOCIETY Everything we do at the Museum is thanks to our incredible Patron Society members. The support of our Patrons keeps our mission alive and thriving every single day, and we are so grateful. If you love the Museum and want to get a closer look at the action, we invite you to join this dedicated group of art lovers. Read on to learn how you can become a Patron, and check out the exciting exhibition previews and special gatherings coming up!

FEATURED PATRON EXPERIENCES

PATRON PREVIEW & RECEPTION

The Stars We Do Not See: Australian Indigenous Art MONDAY, SEPTEMBER 28, 2026

2026 GALA Save the date FRIDAY, DECEMBER 11, 2026

Celebrate an unforgettable evening in support of the Museum.

Join us for an exclusive Patron reception and viewing of The Stars We Do Not See. Celebrate with fellow Patrons and special guests from the National Gallery of Victoria during an elegant evening as you explore nearly 150 works from the collection of Melbourne’s National Gallery of Victoria. PATRON PREVIEW & RECEPTION

German Expressionism in Art and Film FRIDAY, FEBRUARY 5, 2027

TABLE SPONSORSHIPS AVAILABLE For sponsorship inquiries, please contact: Cassie Adams-Harford Donor Engagement & Partnerships Manager

Save the date for a Patron celebration and first look at this exhibition showcasing the similarities between German Expressionist art and film through approximately 120 prints and paintings joined with 50 film clips and stills.

503-276-4297 cassie.adams-harford@pam.org

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TOP: Birmuyingathi Maali Netta Loogatha, Mirdidingkingathi Juwarnda Gabori, Warthadangathi Bijarrba Ethel Thomas, Thunduyingathi Bijarrb May Moodoonuthi, Kuruwarriyingathi Bijarrb Paula Paul, Wirrngajingathi Bijarrb Dawn Naranatji, Rayarriwarrtharrbayingat Amy Loogatha, Dulka Warngiid, 2007, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased with funds donated by Catherine Allen, Carolyn Berger and Delma Valmorbida, 2007, © Birmuyingathi Maali Netta Loogatha; Mirdidingkingathi Juwarnda Sally Gabori; Warthadangathi Bijarrba Ethel Thomas; Thunduyingathi Bijarrb May Moodoonuthi; Kuruwarriyingathi Bijarrb Paula Paul; Wirrngajingathi Bijarrb Kurdalalngk Dawn Naranatjil; Rayarriwarrtharrbayingathi Mingungurra Amy Loogatha / Copyright Agency, Australia 2023; BOTTOM: Film still from Metropolis.

Interested in joining the Patron Society? Join today and enjoy: • Invitations to exclusive exhibition openings and viewings • Early access to special events, including the Annual Gala and PAM CUT programs • Private guided tours of current exhibitions

ART COUNCILS

• Art-inspired travel experiences with fellow Patrons, from local gems to global destinations

Deepen your connection to a specific type of art by joining an Art Council! When you join one of the Museum’s councils, you become part of a passionate community dedicated to supporting the arts in Portland and beyond. As a council member, you will enjoy unique insights from artists and curators, plus invitations to special events, tours, and programs tailored to your interests.

• Complimentary Art Council memberships at the Guarantor level and above Here are a few easy ways to join or upgrade your membership today: • Contact Megan Tomson, Patron & Annual Giving Officer, by phone at 503-276-4298 or by email at megan.tomson@pam.org

“I joined the EAAC because I wanted to be part of a community that shares a passion for art, culture, and learning. Every experience reminds me that art has a unique way of bringing people together.” —Bianka Chacón, European and American Art Council Member

We offer six councils to • Ask about monthly installment options choose from: • Visit our website at pam.to/patron

Interested in joining an Art Council?

• Mail a check to the Museum to the attention of Development Office (Please put “Patron Society membership” in the memo line)

Contact the Development Office at 503-276-4365 or visit our website at pam.to/councils.

• Artists Council

• Asian Art Council • European and American Art Council • Graphic Arts Council • Native American Art Council

Thank you to our Patron Society members!

• Photography Council Please note that council dues are separate from your regular Museum membership. Dues go directly toward funding council activities such as events, programs, and art acquisitions.

PORTLAND ART MUSEUM 37

YOUR STORY CAN BECOME PART OF OURS The Portland Art Museum has long been a place where people come to feel inspired, curious, and connected. With the opening of the Mark Rothko Pavilion and a transformed campus that welcomes more people than ever before, the Museum is beginning an exciting new chapter of creativity, access, and community engagement. Support from thoughtful donors helps preserve those experiences and carry them forward for future generations. Including the Museum in your estate plans is a meaningful and often simple way to create a lasting legacy. Planned gifts help sustain the art, programs, and community experiences that enrich

38 PORTLAND ART MUSEUM

lives across our region and reflect your enduring commitment to the arts. Whether you have already included the Museum in your plans or are just beginning to explore the possibility, we would be honored to hear from you. Please contact us at susan.whittaker@pam.org or call 503-276-4303.

Our new planned giving website also offers helpful information and resources to guide you: pam.giftlegacy.com

GIFTS & GRATITUDE

THANK YOU

We gratefully acknowledge all members and supporters, who make our mission possible. All gifts above $1,000 received March 17 - June 30, 2026 *deceased $50,000+

$10,000 – $24,999

$5,000 – $9,999

Art Bridges Foundation Mary and Tim Boyle Bryce Butler William G. Gilmore Foundation Estate of Gwen Helwig* KHR McNeely Family Foundation Estate of Leonard Kuhl* LAIKA Mary and Pete Mark Family Foundation Pat and Trudy Ritz Darci and Charlie Swindells Terra Foundation for American Art Greg and Cathy Tibbles Anonymous

Linda and Scott Andrews Bank of America Daniel Bergsvik and Donald Hastler Mary and Don Blair Blue Balloon Fund Barbara B. Brady Cascadia Foundation Truman Collins and Nancy Ives Anne and James F. Crumpacker Lana and Chris Finley Ann D. Flowerree Thomas and Elizabeth Gewecke Barbara Ghrist Travers Hill Polak KeyBank Heather Killough Barbara Kommer and Kurt Koenig Lematta Foundation Holly Levow Liz Malarkey Cyndy and Edward Maletis Oregon Community Foundation Mark Palmen Janice E. Quivey Mary M. Sayler Catherine and Bob Sweeney The Kinsman Foundation The Sumitomo Foundation Cheryl Tonkin Willamette Dental Group Susan Winkler Phyllis A. Yes

Scott Allocco Joan Lamb Baldwin Deborah Bergman Alexia and Tucker Bounds Bruce and Brenda Burns Ms. Marilyn Caskey John and Sherry Chin Al Didier and Sherry Holley Brent Ditton and Sharmen Newsom Karen and Bill Early Estate of W.H. Nunn* Brian Ferriso and Amy Pellegrin Barbara J. Fitzgerald Carol M. Frankel Jake Howard Nicole Jensen Sanjiv and Cindy Kaul Dr. Dolores Leon Carolynn Loacker Judy W. Lyons Ken Mantel* and Linda Mantel Margaret Matera Diane Forsgren McCall McGeady Family Foundation Mrs. Elizabeth Menashe Tom Neilsen Marjorie and David Newman Oregon Heritage Commission Jin and Julieann Park Prosper Portland Pat Reser and William Westphal ShadowMachine Soho House Portland Martha Soltesz The Reserve Vineyards & Golf Club LLC Estate of William F. Tinney* Nancy Vartanian John and Frances von Schlegell AnneMarie and Keegan Walden William Westphal and Pat Reser Jo Whitsell

$25,000 – $49,999 Mrs. Mary Cecilia Becker Gagosian Hampton Family Foundation Ms. Juliet Hillman Mr. and Mrs. Frederick D. Jubitz John D. and Catherine T. MacArthur Foundation Donald Mickey and Stephanie Feeney Dori Schnitzer and Mark Brown Grace Serbu and Ivan Gold

40 PORTLAND ART MUSEUM

$2,000 – $4,999 Gillian Almy and Oved Valadez Dr. Lisa Andrus-Rivera Maria Bamford Sharon and Keith Barnes Peter Becker Jane and Steve Benight Steve and Eileen Brennan James and Diane Burke JaCee M. Burnes and Joseph R. Trpik Mary Chomenko Hinckley and Gregory K. Hinckley Mike and Tracey Clark Andrea Corradini Berlioz the Cat Ré Craig D.A. Davidson & Co. Marta and Stephen Eichenlaub Katherine and Mark Frandsen Pauline and John Garney Andra Georges and Timothy Shepard Alix and Tom Goodman Lisa Goodman and Josef Vascovitz Sandy and Jeff Grubb Hennebery Eddy Architects, Inc. Diane M. Herrmann Thomas S. Hicks and Tanja Renee Warren and Valerie Hill Mary Chomenko Hinckley and Gregory K. Hinckley International Fine Print Dealers Association Sandy Japely and Paul Franklin Jack Knight Cheryl and Chick Kozloff Bree La Noue Ms. Bonnie Laing-Malcolmson and Jack Woida Donna L. Larson Elizabeth Leach and Bert Berney Ryan Leverenz Janice Marquis Jim and Char McCreight Judy and Mike McCuddy MeyerPro, Inc. Mia Hall Miller and Matt Miller Alison P. Miller Sarah Miller Meigs and Andrew Meigs

Mia Hervin Moore and Jon Moore Nancy and Kevin Morrice Deanna and Wilfried Mueller-Crispin Cindy Mulflur Multnomah Whiskey Library John and Nancy Murakami Lindy J. Narver Oregon Film Oregon Historical Society Dr. Adlai Pappy Andrea Pastega Vloon and Remco Vloon Dr. Thalia-Rae Perryman Currie E. Person and Patrick Newell Rita and Bob Philip Charles and Ruth Poindexter Emma Reeve Stoel Rives LLP John David Straub Christine Tarpey and Richard Yugler Jayanne Teeter Mr. and Mrs. Joseph P. Tennant Wieden+Kennedy Alice and Wim Wiewel Tim Williams Craig and Suzanne Zarling Charlene Zidell Anonymous

$1,000 – $1,999 George and Sharon Alexander Andi Bakos Laura J. Barton Marilyn Beach Becker Capital Management Dr. Virginia Tilden and Dr. John Benson Arthur Bradford Mr. Christopher Brown Suzanne Casey Wendy Collie Rosemary Colliver and Frank Weiss Mary A. Overgaard and David E. Cook Susan and Paul Curtin Jessica and Edward Decker Claudia Dissel

China Forbes Bonnie Birch and Joe Fram Gloria Gardiner Paul and Theresa Graham Leona and Patrick Green Meredith Hamm Jazia Hammoudi Heidi and Joe Hardman Elizabeth Herrmann and Elizabeth Cavanaugh Dan Hinatsu Kerri and Josh Hoffman David and Maryanne Holman T Matthew and Heather Jacks Lee and Janelle Jimerson Suzanne Johnson Romani Lay and Neville Wellman Mrs. Heidi Lowell Jane Maland and Kyle Napoli Kim Malek Jay and Tonia Mason Col. Mary Mayer and William Tidd Emma McIlroy Will Naito Representative Robert Nosse and James Laden Mr. Ronald Dodge Jewel Robinson Jane Robinson and Michael Sands Roseline Coffee Tanya Selvaratnam Angela and Rex Snow Mr. Robert Speltz Amy Subach Dr. Margie Sunderland Prof. Nora Terwilliger Dr. Virginia Tilden and Dr. John Benson Robert Trotman Interior Design Tom and Ann Usher David Van Veen Walter Weyler and Susan Phinney Sam Wilson Adam Wogan and Amy Dotson

42 PORTLAND ART MUSEUM

TOP: Carrie Brownstein and Titus Kaphar celebrate the 2026 Cinema Unbound Awards; Amy Dotson kicking off the CUA’s; MIDDLE: Guests enjoy Makers Table Wine Dinner; Tom and Mariah Pisha-Duffly pose at the CUA’s; Alix Meier Goodman and Angela Snow; Maria Bamford accepts her Cinema Unbound Award; BOTTOM: Mary Chomenko Hinckley and Grace Serbu at The Makers Table Wine Dinner; Guests enjoying wine tasting at the Makers Table.

TRIBUTE GIFTS Mr. and Mrs. George N. Diamond In Honor of Cyndy Maletis’s Birthday Shelly and Douglas Kintzinger In Memory of Jane Mausshardt Koe Family Fund In Memory of Laura Meier

Connor Maginnis In Memory of Melinda Maginnis Gary Manchester and Nancy Zieg In Memory of Melinda Maginnis Mr. and Mrs. Barry Menashe In Honor of Cyndy Maletis’s Birthday

Deanna and Wilfried MuellerCrispin In Honor of Grace Serbu and Ivan Gold Sarah Potter and Kenneth Anderson In Honor of Mary Potter Dori Schnitzer In Honor of Cyndy Maletis’s Birthday

Don Strand In Memory of Jane Mausshardt Cheryl Tonkin In Memory of Alan Baron Tonkin Katherine Zika In Memory of Jane Mausshardt

HONORING OUR GENEROUS SUPPORTERS Support for the Museum’s exhibitions and programs during this landmark year on our transformed campus has been made possible through the generosity of: EXHIBITIONS SPONSORS PRESENTING

LEAD