Portal, Spring 2025

SPRING 2025

monet’s floating worlds at giverny global icons, local spotlight yoshida chizuko

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FROM THE DIRECTOR

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TRANSFORMING THE MUSEUM

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EXHIBITIONS & INSTALLATIONS Monet’s Floating Worlds at Giverny: Portland’s Waterlilies Resurfaces Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer

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PAM CU T 2025 Cinema Unbound Awards Coming to Tomorrow Theater!

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MEMBE RS & PATRONS

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GIFTS & GATHER INGS

Yoshida Chizuko Newly Reinstalled Galleries Psychedelic Rock Posters and Fashion of the 1960s Upcoming Exhibitions: David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation The Stars We Do Not See: Australian Indigenous Art 19

NEWS & NOTEWORTHY Year in Review Venice Biennale’s Lasting Impact Everybody Is an Art Person New Black Art and Experiences Gallery Thanks to 1803 Fund

PORTAL, VOL. 14, 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 engage diverse communities through art and film of enduring quality, and to collect, preserve, and educate for the enrichment of present and future generations.

The Portland Art Museum recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah, and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.

TOP: Henri de Toulouse-Lautrec (French, 1864-1901), Mademoiselle Marcelle Lender, En Buste, 1895, color lithograph on wove paper. Bequest of Saidee R. Berg. Portland Art Museum, Portland, Oregon, 74.14.2; Yoshida Chizuko (Japanese, 1924–2017), Flower Field, 1975, photoetching and color, woodblock print with metallic pigments on paper, Private Collection. © Yoshida Chizuko; Amy Sherald, American, (b. 1973) As soft as she is... (detail), edition 2/35, 2023, screenprint. Image copyright Amy Sherald.

Claude Monet (French, 1840-1926), Waterlilies, 1914-1915, oil on canvas, image: 63 1/4 in x 71 1/8 in; frame: 68 3/4 in x 76 9/16 in x 3 1/4 in, Museum Purchase: Helen Thurston Ayer Fund, public domain, 59.16

FROM THE DIRECTOR Dear Members, By now you’ve heard the news that we are opening our transformed Portland Art Museum to the public on November 20, and we are so grateful for your ongoing support and belief in this once-in-a-generation project. Beyond the new art experiences, stunning inside-outside views, and comfortable, accessible visitor amenities, I believe that the Museum is a cornerstone of downtown Portland’s revival. Art has always been a connector of people and communities, and for the Museum to play the role of reconnecting Portlanders to their city is a task I don’t take lightly. It’s been a great honor to bring this vision to life. If you haven’t contributed yet to the Connection Campaign, there is still time to have an impact—every dollar counts, no matter how big or small.

Between now and when we welcome you through the doors of the new Mark Rothko Pavilion, there is plenty to see and do. In September, we open Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition partnership with one of our city’s most prominent collectors and philanthropists. We are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community with more opportunities to access and find inspiration in the art that brings the world to Portland.

Also opening in September is Yoshida Chizuko, the first major retrospective to focus on the groundbreaking Japanese painter, printmaker, and pioneering woman modernist. This unprecedented exhibition is curated by Jeannie Kenmotsu, Ph.D., the Museum’s Arlene and Harold Schnitzer Curator of Asian Art, and we are so fortunate to benefit from the deep scholarship and insight she brings to our strong Asian art collection.

Jeannie Kenmotsu’s curatorial insight is also on view now in a new exhibition in our reinstalled Asian Art galleries, which are back on view along with our American and European Art galleries, reinstalled with new vision and energy

by Lloyd DeWitt, Ph.D., Richard and Janet Geary Curator of European & American Art Pre-1930. These galleries are just a taste of what you’ll experience throughout our transformed campus when it fully opens later this fall, with nearly 300 major new acquisitions featured in a complete reinstallation that emphasizes key themes of place, community, and identity.

We cannot wait to welcome our community to the new spaces and visions in our Mark Rothko Pavilion and transformed Museum, and I am so grateful to you for your vital support at all levels as we bring this vision to life for our city.

Thank you.

Brian Ferriso Director

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TRANSFORMING THE MUSEUM

CONNECTION CAMPAIGN The Portland Art Museum’s Vision for the Future Art has the unique power to connect us—across generations, backgrounds, and abilities. For over a century, the Portland Art Museum has been a place where these connections come to life. Now, through the transformative Connection Campaign, we are embarking on a new chapter to ensure that everyone in our community has access to art’s enriching experiences for generations to come.

Launched in 2013, the Connection Campaign is a special fundraising initiative with two critical components: a capital project to reshape our physical campus and an endowment initiative to secure our financial future. Together, these efforts are strengthening the Museum’s role as a vibrant hub of creativity, learning, and inclusivity.

A Campus Designed for All

Securing a Legacy for the Future

At the heart of the Connection Campaign is a bold investment in accessibility, innovation, and community engagement—creating a campus that welcomes and inspires everyone.

With 100,000 square feet of expanded and renovated space, we are redefining how visitors experience the Museum. Guided by universal design principles, this project is creating a welcoming environment for people of all ages and abilities. Just imagine a space where every visitor—regardless of mobility—can navigate seamlessly through galleries and public areas, ensuring an inclusive and enriching experience for all.

In tandem with our physical transformation, the Connection Campaign is raising at least $30 million for the Museum’s endowment.

This crucial financial foundation will provide stability amid economic fluctuations and evolving funding landscapes. A strong endowment means we can continue to offer exceptional exhibitions, educational programs, and community events regardless of external challenges.

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The endowment supports key Museum priorities, such as expanding educational outreach, preserving our collection, and attracting world-class exhibitions to Portland.

It ensures that the Museum remains a place of inspiration and learning for future generations.

The Power of Community Support The success of the Connection Campaign— the largest fundraising campaign for arts and culture in Oregon—depends on the generosity and vision of our community. To date, over 500 donors have contributed gifts of all sizes. Their support not only strengthens a cornerstone of Portland’s cultural landscape but also fuels growth across the state. Our exhibitions, educational programs, and community events attract visitors from across Oregon and beyond, generating economic activity that benefits local businesses and the broader community.

We hope everyone will consider a gift to the Connection Campaign to build a stronger Oregon through the arts. Your investment will support a more accessible, welcoming, and financially sustainable Museum while fueling the economic vitality that uplifts communities across the state. Together, we can ensure a thriving future for all Oregonians.

CAMPUS TRANSFORMATION Grand Opening: November 20, 2025 We are excited to announce the grand community reopening of the Museum on Thursday, November 20. Plans are underway for a variety of opening festivities, and our members can look forward to special programs and events to celebrate this momentous occasion.

What’s Happening Now

What’s Happening Next

Construction on the Museum’s campus transformation project is in its final months. The Mark Rothko Pavilion, with its transparent glass facade, connects our historic buildings, waiting to welcome visitors to a new, more holistic art viewing experience this fall.

Now that the key structural elements are completed, the focus shifts toward building out the interior spaces, construction of the plazas, and landscaping. Central to this work is the completion of three new elevator cars, the renovation of the Whitsell Auditorium, installation of the signature granite flooring, and ongoing mechanical system work. During this time, some collection galleries in the Main Building will reopen with fresh perspectives on our American, European, and Japanese art collections (learn more on pages 14-15). In the months and weeks leading up to the grand reopening, curators, preparators, and collection staff will be hard at work installing galleries in the pavilion and the Jubitz Center for Modern and Contemporary Art. Our visitor services and protection services staff will be preparing the building to welcome visitors, and our learning and community partnerships staff will be planning programs to offer context and depth.

This once-in-a-generation expansion and renovation project is transforming the existing Museum by adding nearly 100,000 square feet of new or renovated space, creating new galleries to display more of our expansive collection and increasing accessibility throughout the campus. The project centers on the creation of the new 24,000-square-foot Mark Rothko Pavilion, which will provide a new, welcoming “front door” to the Museum.

The past six months have included major construction milestones such as: • Rothko Pavilion structural framing and flooring.

How to Visit

• Installation of 174 bird-safe glass panels to form the pavilion’s exterior.

Thank you to our members for your continued support and for visiting the Museum during construction. We remain open, with special exhibitions and select collection galleries on view in the Main Building. Access is through the temporary entrance on Southwest Park Avenue, near Jefferson Street, and the construction fencing will stay in place until the reopening date approaches.

• Completion of the stairs connecting the pavilion to the Mark Building and over the community passageway.

• Substantial completion of the Crumpacker Center, a new space for art in the former library.

This project is one of the most significant capital investments in the arts in Oregon’s history. Learn more about how you can be part of this historic effort on page 6.

We are pleased to share that in late fall, the new cafe will be open for business. Our completely transformed shop, offering a whole new retail experience, will also be open in its new space.

We know that these amenities are important, and we are glad to make them available before the full reopening in November.

HOURS Monday & Tuesday.....................................Closed Wednesday – Sunday..................10 a.m. – 5 p.m. *Free admission on the first Thursday of each month with extended hours to 7 p.m.

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HOW YOU CAN HELP Support the Museum’s Connection Campaign At the Portland Art Museum, we believe that Everybody Is an Art Person. Whether you’re passionate about oil paintings, comic books, ice cream, or sneakers, everyone has something they love that’s made with craft, intention, and style.

That’s why we’re reimagining our campus to celebrate more kinds of art (and art people). With more space, more community, and more perspectives, we’re creating a Museum that truly welcomes everyone. We’re building a bigger, more inclusive Museum—for more art people. That means you. There are many ways you can get involved and be an important part of the transformation!

Make a Gift and Double Your Impact Now is your chance to make a difference—twice over! Thanks to the Ed Cauduro Fund of the Oregon Community Foundation Challenge Grant, every gift you give will be matched dollar for dollar, amplifying your generosity.

Make your gift today and help us create an even greater impact.

Plus, as a special thank you, every supporter who donates $100 or more will receive an exclusive “Everybody Is an Art Person” tote bag.

For more options on how to make a gift to the Connection Campaign, visit pam.to/campus-transformation

Mark Rothko Commemorative Print With a new donation of $5,000 or more to the Connection Campaign, you’ll receive a stunning framed commemorative print of Mark Rothko’s iconic 1951 painting, No. 16 [?] Green, White, Yellow on Yellow. Framed print measures 32 by 40 inches.

Rothko’s formative connection to our city, including his first institutional exhibition at the Portland Art Museum and the glass pavilion named in his honor, makes this opportunity truly special. This exclusive piece not only honors your generosity but also celebrates the enduring legacy of one of Portland’s most renowned artists.

We’re thrilled to collaborate with the Rothko family to secure exclusive rights to reproduce this masterpiece. The original No. 16 [?] Green, White, Yellow on Yellow will be featured in a new exhibition on view at the Portland Art Museum when the transformed campus opens in November.

This exceptional opportunity is available only through the Portland Art Museum and for a limited time. Quantities are limited, and framing options are available to enhance your artwork.

Learn more at pam.to/campaign-incentives Together, we can make art more accessible, inclusive, and enriching for everyone.

To learn more about how you can help, please visit our Connection Campaign webpage at pam.to/campus-transformation or contact our development team at 503-276-4365 or development@pam.org.

Thank you for being part of this transformation.

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Original oil painting caption: Mark Rothko, No. 16 [?] {Green, White, Yellow on Yellow}, 1951, oil on canvas, 67 5/8 x 44 5/8 in., © 1998 by Kate Rothko Prizel and Christopher Rothko/ Artists Rights Society (ARS), New York.

EXHIBITIONS & INSTALLATIONS

MONET’S FLOATING WORLDS AT GIVERNY Portland’s Waterlilies Resurfaces THROUGH AUGUST 10 After more than 60 years, Claude Monet’s celebrated masterpiece Waterlilies emerges in a new light at the Portland Art Museum.

Removing the varnish has revealed Monet’s originally intended color harmonies and nuanced brushwork. The newly conserved Waterlilies painting is the centerpiece of the exhibition Monet’s Floating Worlds at Giverny, a celebration of the conserved painting and influences that shaped its creation. The exhibition of 53 works will be on view through August 10, 2025.

Monet collected over 250 Japanese woodblock prints known as ukiyo-e, “pictures of the floating world.” After Japan opened to trade in 1853, these unknown prints flooded into Europe and captivated Impressionist and Post-Impressionist artists. Drawing from the Museum’s significant

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collection, curator Jeannie Kenmotsu identified versions of Monet’s prints, prints from the same series, and similar prints by Toyokuni (Utagawa Kunisada), Utagawa Hiroshige, and Kitagawa Utamaro and others, which greet the visitor as they enter the exhibition.

It continues with Impressionist European and American responses to Japanese aesthetics, featuring prints by Mary Cassatt, Bertha Lum, Henri Rivière, Henri de Toulouse-Lautrec, and others who also drew inspiration from Japanese art. The exhibition concludes with the newly conserved Waterlilies, which is displayed alongside documentation of the research and restoration process that returned the work to its intended appearance.

Monet’s Floating Worlds at Giverny also includes contemporary photographs of Giverny and Portland’s Japanese Gardens by celebrated photographers Susan Seubert and Stu Levy,

offering fresh perspectives on the gardens that profoundly inspired Monet’s art.

“In the late 19th century, Japanese art introduced radical perspectives and vibrant new aesthetics to European audiences, reshaping traditions in beauty that Monet and his contemporaries eagerly embraced,” said exhibition curator Mary Weaver Chapin, Curator of Prints and Drawings. “Some graphic artists emulated the Japanese aesthetic, others adopted Eastern methods of printing as well, seeking their beautiful color and tonal effects.”

With no horizon line and no clear depth, Monet’s painting immerses viewers in a world of floating lily pads and blossoms, reflections of willow branches, and a raindrop-mottled surface. Monet’s “nature” is an artfully cultivated setting: He sought out the latest exotic waterlily hybrids.

TOP: Katsushika Hokusai (Japanese, 1760–1849), Sōshū Hakone kosui (Hakone Lake in Sagami Province), from the series Fugaku sanjūrokkei (Thirty-six Views of Mount Fuji), ca. 1831, color woodblock print on paper; The Mary Andrews Ladd Collection. Portland Art Museum, Portland, Oregon, 32.418; RIGHT: Henri de Toulouse-Lautrec (French, 18641901), Mademoiselle Marcelle Lender, En Buste, 1895, color lithograph on wove paper. Bequest of Saidee R. Berg. Portland Art Museum, Portland, Oregon, 74.14.2; Bertha Lum (American, 1869-1954), Theatre Street, Yokohama, 1905, color woodblock print on paper, Gift of Heirs of Charles Francis Adams Collection: Peter F. Adams, Mrs. Sandra Adams Beebe, and Charles Anthony Adams, © Estate of Bertha Lum, 89.20.90.

One of more than 250 paintings of this motif painted over the span of nearly 30 years, Waterlilies is widely regarded as one of the finest in the series. Monet’s son Michel displayed it in his dining room for decades before the Portland Art Museum acquired the painting in 1959.

With the support of the Bank of America Art Conservation Project, Chief Conservator Charlotte Ameringer carefully removed the 1959 layer of synthetic varnish in the Museum’s new conservation studio. The community can learn more about the conservation process in a series of videos on the Museum’s website and on social media channels.

“We are thrilled to invite our community to see the painting as Monet intended it to be seen, and to more deeply explore the art that inspired him,” said Lloyd DeWitt, The Richard and Janet Geary Curator of European & American Art Pre-1930. “No one in Portland had seen this until now. What appeared as a flat blue area in the painting is now a glowing, richly textured tapestry of purple, green, and blue.”

The Museum offers a variety of public programs in conjunction with Monet’s Floating Worlds at Giverny, including a demonstration of Japanese printmaking techniques by local studio Atelier Meridian and monthly “Meet the Curator” opportunities to explore the exhibition

with PAM’s curators and conservator. At PAM CUT’s Tomorrow Theater, a unique Free First Thursday event in July will reimagine the timeless beauty of Impressionist films with live music performances.

Co-organized for the Portland Art Museum

by Charlotte Ameringer, Chief Conservator; Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings; Lloyd DeWitt, Ph.D., The Richard and Janet Geary Curator of European & American Art Pre-1930; and Jeannie Kenmotsu, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art. Major support for this exhibition is provided by Ann Flowerree and Exhibition Series Sponsors.

The restoration of Monet’s Waterlilies and related programs are supported in part by a generous grant from the Bank of America Art Conservation Project.

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GLOBAL ICONS, LOCAL SPOTLIGHT Contemporary Art from the Collections of Jordan D. Schnitzer SEPTEMBER 6, 2025 – JANUARY 11, 2026 Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer shares works from one of Oregon’s foremost fine art collectors by some of today’s leading artists. Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Schnitzer’s collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to make art accessible to diverse communities. Schnitzer, who has been named an ARTNews Top 200 art collector globally, is a lifelong Portland resident, local business owner and Oregon’s foremost fine art collector. His collaboration with the Museum to exhibit these works furthers his goal to share art with audiences across the globe.

“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists,” said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass,

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Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

ceramics, mixed media, and more, many of which will be shown publicly for the first time.

Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that make up Oregon.

“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our

mission to engage and enrich Portland’s diverse communities through art.”

Other notable works in the exhibition include Christopher Myers’ immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as cocommissioner for his exhibition for the U.S.

LEFT: Amy Sherald, American, (b. 1973) As soft as she is..., edition 2/35, 2023, screenprint. Image copyright Amy Sherald; TOP: Jeff Koons, American, (b. 1955), Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016, archival pigment print with inlaid mirrored glass. Image copyright Jeff Koons. All images courtesy Jordan Schnitzer Family Foundation.

TOP: Jeffrey Gibson, Native American, Mississippi Band of Choctaw Indians and Cherokee, (b. 1972), SPIRIT AND MATTER, 2023, acrylic paint on elk hide inset in custom wood frame. Image copyright Jeffrey Gibson; RIGHT: Cave, Nick, American, (b. 1959), Rescue, 2014, mixed media including ceramic birds, metal flowers, ceramic basset hound, and vintage settee. All images: Collection of the Jordan Schnitzer Family Foundation. Photos by Aaron Wessling Photography.

Organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. Generous support provided by supporting sponsors The Jordan Schnitzer Family Foundation and The Harold and Arlene Schnitzer CARE Foundation.

YOSHIDA CHIZUKO SEPTEMBER 27, 2025 – JANUARY 4, 2026 The Portland Art Museum is proud to present the first major retrospective to focus on the groundbreaking 20th-century painter and printmaker Yoshida Chizuko (1924–2017), a pioneering woman modernist in Japan.

Opening September 27, Yoshida Chizuko features over 100 works, many of which have never previously been exhibited, encompassing early paintings and sketches, rare monotypes, woodblock prints, and zinc-plate mixed media prints, in addition to archival material and ephemera. Nearly 80 of the works in the exhibition comprise a major planned acquisition from the Yoshida family estate, joining the Museum’s exceptional holdings of 20th-century Japanese prints that are among the most significant in the country.

Yoshida Chizuko traces the evolution of the artist’s full career, from avant-garde abstraction in the late 1940s and 1950s to neon-colored Op art and works that drew inspiration from commercial advertising in the 1960s and 1970s, to her late career, which was heavily influenced by the natural world. The exhibition situates her within the context of international modernist

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art and 20th-century Japanese printmaking, a medium that experienced enormous global popularity and commercial success in the postwar era. The presentation also explores the tensions inherent in Chizuko’s role as a woman artist in mid-century Japan and as a member of the well-known Yoshida family into which she married, with a tradition of artistry spanning four generations into the present day. Works on view will illustrate the personal influences that shaped Chizuko’s work, including the loss of a beloved brother, formative years as a member of the artist Okamoto Tarō’s radical Night Society collective, and the later interplay between Chizuko’s work and that of her husband, Hodaka.

“We are honored to present this first major museum retrospective of Yoshida Chizuko’s remarkable career, which will offer visitors an in-depth look at her visionary practice and her profound impact on both 20th-century Japanese and modernist art,” said PAM director Brian Ferriso. “The upcoming acquisition of nearly 80 of her works underscores the Museum’s commitment to spotlighting

underrepresented artists and uplifting diverse voices, and will contribute to continued scholarship and research.”

“A reexamination of Yoshida Chizuko’s legacy has been a long time coming,” said exhibition organizer and curator Jeannie Kenmotsu, Ph.D., Arlene and Harold Schnitzer Curator of Asian Art. “By bringing Chizuko into focus, we center the untold story of a radical woman artist gifted with a brilliant sense of color and pattern, who was incredibly but quietly prolific

I hope audiences see Chizuko not just as a Japanese woman artist, and a member of the Yoshida family, but also as a modernist whose work challenges established ideas about international printmaking in the twentieth century.”

over six decades. Widely regarded as the most avant-garde member of the family, her career and legacy have often been overshadowed by the commercial success and recognition of her male relatives, including her father-in-law, Yoshida Hiroshi, and her husband, Yoshida Hodaka. The exhibition and publication will allow audiences for the first time to understand how her work evolved—transforming from the bold explorations of her youth to lyrical and evocative compositions of her later years.

Alongside her creative practice, the exhibition explores Chizuko’s significant efforts in supporting fellow women artists, particularly her ten-year engagement with the Joryū Hanga Kyōkai, or the Women Printmakers Association, an organization she co-founded in Tokyo in 1956 that provided critical support for women in the graphic arts. This group was the subject of an exhibition at PAM in 2020-2021, the only exhibition on the subject to date. Through this narrative, the exhibition illustrates the ways in which Chizuko established her creativity and innovation as an artist independent from her well-known family, and demonstrates her impact on a younger generation of women printmakers as well as her peers.

Yoshida Chizuko is accompanied by a catalogue featuring essays by exhibition curator Jeannie Kenmotsu; Noriko Kuwahara, Retired Professor at Seitoku University, Chiba, Japan; Hollis Goodall, Retired Curator of Japanese Art at Los Angeles County Museum of Art; and Ayomi Yoshida, the artist’s daughter and a practicing contemporary artist. In addition, the

catalogue includes bilingual reference material encompassing Chizuko’s major works and a timeline of her artistic activities, marking the first time this information has been compiled for scholarly purposes.

Organized and curated by Jeannie Kenmotsu, Ph.D., the Arlene and Harold Schnitzer Curator of Asian Art. This exhibition is made possible in part by the Institute of Museum and Library Services, grant MA-256007-OMS-24 and the Asian Art Council of the Portland Art Museum.

LEFT to RIGHT: Yoshida Chizuko (Japanese, 1924–2017), Tanima no chō (Valley of Butterflies), 1979, photoetching and color woodblock print on paper, Private Collection. © Yoshida Chizuko; Yoshida Chizuko (Japanese, 1924–2017), Flower Field, 1975, photoetching and color woodblock print with metallic pigments on paper, Private Collection. © Yoshida Chizuko; Yoshida Chizuko (Japanese, 1924–2017), Star, Star, Star A, 1969, color woodblock print and blind embossing on paper, Courtesy of Yoshida Ayomi. ©Yoshida Chizuko; Yoshida Chizuko (Japanese, 1924–2017), Jama Masjid, 1960, color woodblock print on paper, The Vivian and Gordon Gilkey Graphic Arts Collection. Portland Art Museum, Portland, Oregon, 83.57.222. © Yoshida Chizuko.

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MUSEUM UNVEILS NEWLY REINSTALLED GALLERIES AMID CAMPUS TRANSFORMATION As the work on the Museum’s transformative campus expansion and renovation continues through the spring and summer, visitors will have the opportunity to experience a selection of new exhibitions drawn from the Museum’s collections in the Main Building. These refreshed galleries mark the beginning of an exciting shift in how the Museum presents its collections—moving beyond conventions like chronology and style toward dynamic presentations and thematic displays, often drawn from across cultures and time periods. The reimagined galleries offer a glimpse of an approach that will inform how we present the collections in the future, and set the stage for the grand reopening on November 20, 2025, when the full campus transformation will be unveiled to the public.

American Galleries American Land NOW ON VIEW This gallery features a mix of visitor favorites and rarely seen works—including a selection of American landscapes by Albert Bierstadt, George Inness, Thomas Moran, and William Sartain— alongside a small selection of contemporaneous historic works from our Native American collection. Explore the different ways Americans have considered land and change in the three sections of this gallery: Americans Abroad, Americans at Home, and Urbanism.

Highest Heaven NOW ON VIEW Expanding our view of American art to include Hispanic regions, this gallery highlights the Elvin Duerst gift of art from Central and South America from the Viceregal period (1521–1821).

The dazzling depictions of Catholic archangels and saints are joined with examples of highly refined ceramic and textile art by Indigenous artists dating from the pre-contact period to show the continuity experienced across these cultures at a time of social transformation.

Mystic Mountain: Mount Hood in Art OPENING AUGUST 2025 One natural monument unites all Portlanders, the iconic form of Mount Hood. Re-examining the romanticized narratives, this display will reassess how the iconic mountain has been viewed by artists over time and across the globe, including works by Bierstadt, Eliza Barchus, and Childe Hassam, as well as Sekino Jun’ichirō and Marcus Amerman.

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European Galleries

Facing Ourselves: Portraiture and Identity

The Kress Collection

OPENING LATE SUMMER 2025

The Kress gift of 32 works, mainly of Italian Renaissance art, is the core of the European Collection and was part of a nationally distributed collection assembled by a department store magnate. Displaying these works together underscores this unusual act of philanthropy that gave Portland a uniquely focused, superb, yet accessible group of masterworks.

This display of portraits from Europe and the United States reassesses what makes a portrait, and how we strive to capture identity and the personal encounter in art. Works by Rembrandt Peale, Gilbert Stuart, and Milton Avery will be presented alongside Roman epitaphs, a medieval reliquary, and a coat of arms to broaden the idea of portraiture and raise the provocative question of how it’s possible to capture someone’s life and identity in art.

OPENING LATE SUMMER 2025

Mirror Mirror: Silver in the 20th Century OPENING SUMMER 2025 The soft, warm, and still precious surface of this metal continues to inspire artists around the world. The Museum’s historical silver collection has continued to grow to include objects made in the 20th century, with modern silversmiths reinterpreting traditional forms into a contemporary language. The metal is also crucial to the photographic process of silver gelatin prints, and this installation brings the two together.

Global Impressionism

Japanese Galleries Conversations in Clay NOW ON VIEW Conversations in Clay presents contemporary Japanese ceramics from one of the premier American private collections, together with works from the Museum’s permanent collection, most of which will be on view for the first time. The show emphasizes the diverse range of directions in contemporary ceramics, including natural ash glazes, sculptural forms, and meticulous surface treatments. It includes several pioneering women artists.

OPENING LATE SUMMER 2025 The Museum’s excellent collection of French Impressionist masterpieces will be joined by examples tracing the phenomenon as it was interpreted around the United States. Works

by Childe Hassam, Charles McKim, and Clara Jane Stevens will hang beside works by Renoir, Monet, Pissarro, and Degas, showing the full breadth and impact of this radical movement in art.

LEFT: Sir Anthony van Dyck (Flemish, active England and Italy, 1599-1641), Portrait of Cardinal Domenico Rivarola, ca. 1623-1624, oil on canvas, image: 40 5/8 in x 31 1/2 in; frame: 54 1/16 in x 45 1/16 in x 2 in, Museum Purchase: Funds provided by the Swigert Foundation and private donors, public domain, 1999.37; MIDDLE: Gianmaria Buccellati (Italian, 1929-2015), Boar, last half of 20th century, sterling silver, 12 in x 20 3/8 in x 13 7/8 in, The Carol and Seymour Haber Collection, © Gianmaria Buccellati / Buccellati, 2008.82; RIGHT: Inaba Chikako (Japanese, born 1974), Yōki (Leaf Vessel), 2021, glazed stoneware, 22 in x 8 3/4 in x 9 3/16 in, Museum Purchase: Funds provided by Dori Schnitzer. Portland Art Museum, Portland, Oregon, 2023.46.1. © Inaba Chikako.

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PSYCHEDELIC ROCK POSTERS AND FASHION OF THE 1960s

vintage styles, to demonstrate how fashion both reflected and influenced the psychedelic look of the posters.

THROUGH JUNE 15

Portland was not left out of this creative flowering; many bands came here and to Eugene en route to Seattle, sparking a psychedelic poster explosion in our hometown.

A special gallery is devoted to Portland venues—including the Masonic Temple grand ballroom, now part of the Museum campus.

To round out the Portland gallery, local fashion designer Adam Arnold contributed fabulous custom cushion designs inspired by the art.

Vibrant, surreal, and playful, the rock concert posters from 1960s San Francisco capture the energy and excitement of both the music and the era. Psychedelic Rock Posters and Fashion of the 1960s reveals the passion and creativity of this moment.

Music promoters Chet Helms and Bill Graham recruited talented young artists from San Francisco to make distinctive posters for their music venues, the Avalon Ballroom and the Fillmore Auditorium, respectively. To portray the heady experience of life and music at this time, poster artists invented a graphic language to communicate the excitement of rock concerts, which also featured liquid light shows and film projections. They drew on disparate historical precedents, such as French Art

Nouveau designs, Wild West posters, Victorian engravings, and Renaissance art, and combined them with witty and provocative design. While deploying distortion, pattern, and surrealism, they juxtaposed heterogeneous objects to mimic the “psychedelic experience,” in which participants sought to access a realm of thinking beyond the visual world, typically through the use of LSD. The exhibition brings together nearly 200 rock posters, including work by the “big five” designers of the day—Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson—as well as other superb talents, such as Bonnie MacLean, Jim Blashfield, and Bob “Raphael” Schnepf. In addition to the posters, the installation showcases 20 eclectic

The exhibition was initiated by the generous gift of Gary Westford to the Portland Art Museum. Major donations of poster art in 2019 and 2023 form the backbone of the exhibition, while key loans round out the visual story of the psychedelic era.

Just a few weeks remain to experience these mind-blowing designs, so tune in, turn on, and drop by!

Curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings.

MAJOR SPONSOR: Alix and Tom Goodman, Fred and Gail Jubitz, Greg and Cathy Tibbles; SPONSOR: Amjad and Helen Bangash, Daniel Bergsvik and Donald Hastler, Elizabeth and Kirk Day, Jill and Tony Garvey, Jeffrey M. Lang, Mark New and Robin Snyder, The Caryll M. and Norman F. Sprague Foundation, Betsy Warren, Anonymous; SUPPORTER: Alexander Benenson; Graphic Arts Council of the Portland Art Museum.

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LEFT: Artist Bob “Raphael” Schnepf in front of two of his pieces in Psychedelic Rock Posters and Fashion of the 1960s.

PSYCHEDELIC POSTERS COMMUNITY STORIES Throughout the process of developing Psychedelic Rock Posters and Fashion of the 1960s, Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings, found that every poster held a story.

Embedded in the very nature of rock concert posters and fashion are narratives and memories from moments in time. She invited people in the community to share their posters, handbills, and other ephemera from the iconic era. Below are three of those stories and the wonderful objects connected to them.

TRISH KAT TROUT

ANDREW KRAMER

I was helping a friend go through her father’s house after he passed, and found some rolled-up posters under his framing table in his studio. We figure they are printer’s proofs salvaged from the trash bin of history.

In 1966 I was teaching school in the San Francisco Bay Area. My fiancé was finishing his degree at UC Berkeley and I traveled to see him on weekends. A bookstore there was giving away promotional posters, so I grabbed four originals by Wes Wilson and one by Ned Lamont. I later framed them for my daughters and grandson as gifts.

GREG WILLIAMS

I went to Cal Poly in San Luis Obispo from 1966-73 as an architecture major. From 196768 I was on the mailing list for the Fillmore Auditorium (Bill Graham) and Avalon Ballroom (The Family Dog) concerts in San Francisco and would get postcards with the concert art every week (which I still have). I had a surfer friend from Santa Cruz and occasionally we would drive up to “the City” in his VW bus for a show—we saw Big Brother, the Grateful Dead, the Animals, etc. Also, Jefferson Airplane and the Doors performed in our school gym, and I was able to walk right up to the stage and take photos. Here are a few of my 76 cards along with photos from the 1967 gym concerts. That was a very interesting and exciting time to mature in!

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UPCOMING DAVID HOCKNEY: Works from the Collections of Jordan D. Schnitzer and His Family Foundation FEBRUARY 14 – JULY 26, 2026 David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation is a vibrant exhibition celebrating the groundbreaking works on paper of one of the most influential artists of our time. Spanning six decades of creativity, this expansive showcase invites visitors into Hockney’s colorful, topsy-turvy world through an array of prints, photographs, and digital drawings and paintings. From his iconic Californian pool scenes to his innovative and monumental iPad creations, the exhibition highlights his signature bold use of color, inventive exploration of space and perspective, and evolving embrace of new media. Hockney’s passion for both the natural world and human connection is evident, and visitors will experience the evolution of a remarkable artist whose work continues to inspire and challenge perceptions of contemporary art.

THE STARS WE DO NOT SEE Australian Indigenous Art SEPTEMBER 5, 2026 – JANUARY 3, 2027 Organized by the National Gallery of Victoria (NGV) for North American audiences, this exhibition features over 200 works by more than 130 artists, drawn from NGV’s worldleading collection in Melbourne. Showcasing iconic masterpieces—many leaving Australia for the first time—The Stars We Do Not See traces Indigenous Australian art from the late 19th century to today, revealing a deep creative history predating British arrival.

The exhibition highlights customary styles, including Central and Western Desert dot paintings, ochre bark paintings, cultural objects, and experimental weavings, alongside groundbreaking works in neon, video, photography, and sound. Representing over 250 Indigenous nations, the collection spans the Tiwi Islands, Arnhem Land, the Torres Strait, and beyond. Notable works include Emily Kam Kngwarray’s Anwerlarr Anganenty (Big Yam Dreaming) (1995), an immense, globally renowned painting. The show also features contemporary new-media artists such as Brook Andrew, Richard Bell, Reko Rennie, and Maree Clarke.

The exhibition’s title, The Stars We Do Not See, is inspired in part by the late senior Yolngu artist Gulumbu Yunupingu (1943–2012), who, after her passing, became known as “Star Lady” for her extensive paintings of the night sky. Yunupingu’s intricate works, a selection of which will be featured in the exhibition, use

crosses to represent the stars we can see and a dense network of dots to symbolize the stars we cannot see—the unseen expanse of the universe. The Yolngu people live in Arnhem Land, with Star Lady coming from a community in the northeast known as Yirrkala. Arnhem Land is a region at the top of the Northern Territory that is internationally known for its artists’ daring work on bark.

“We are honored to bring this important exhibition to Portland,” said Brian Ferriso, Director of the Portland Art Museum. “I am so grateful to my National Gallery of Art, National Gallery of Victoria, and North American museum colleagues for partnering with us on something of such significance. We cannot wait for visitors to see these stunning works of art in our newly renovated and expanded campus.”

The exhibition is curated by Myles Russell-Cook, senior curator of Australian and First Nations art, National Gallery of Victoria. In Portland, the exhibition presentation will be coordinated by Kathleen Ash-Milby, Curator of Native American Art. Bank of America is the North America Tour Sponsor for the exhibition.

LEFT: David Hockney, Self Portrait, 1954, Lithograph in five colors, Edition of approximately 5 - not numbered, 11-1/2 X 10-1/4”, © David Hockney, Photo Credit: Richard Schmidt; 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 195.0 x 610.0 cm 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.

NEWS & NOTEWORTHY

YEAR IN REVIEW The fiscal year ending June 30, 2024, was filled with art, community connections, and physical transformations as we began to connect our two historic buildings and add 100,000 square feet of new and reimagined public and gallery spaces. This past year, we engaged 259,000 visitors, including 26,000 youth and 20,000 attendees at public programs and events. This impressive turnout reflects the strong interest in our exhibition programs and community initiatives that connect and inspire audiences through art.

A slate of diverse exhibitions played a vital role in attracting visitors while demonstrating the Museum’s ongoing commitment to showcasing work by artists historically underrepresented in our spaces. These included Guillermo del Toro: Crafting Pinocchio; Black Artists of Oregon; Africa Fashion; Future Now: Virtual Sneakers to Cutting-Edge Kicks; and Throughlines: Connections in the Collection, as well as dynamic events at PAM CUT’s Tomorrow Theater.

Showcasing our curatorial vision, the Biennale was a proud moment for our Museum and the artist. Smithsonian’s National Museum of the American Indian will bring this exhibition into K-12 classrooms nationwide in the months and years to come via the Native Knowledge 360 website for educators. In tandem, we are developing resources to connect Oregon’s Tribal History/Shared History curriculum and the Museum’s collection.

The Tomorrow Theater welcomed nearly 35,000 guests in its first year of operation.

Highlights included events featuring David Byrne and Academy Award–winning designer

A standout achievement was the Museum’s co-presentation of Jeffrey Gibson’s the space in which to place me at the 60th Venice Biennale in Italy (see page 22). This groundbreaking exhibition is a historic first for the U.S. Pavilion, spotlighting a solo presentation by an Indigenous artist and curated by Kathleen Ash-Milby, the Museum’s Curator of Native American Art, the first Native American in this role. This prestigious event, often regarded as the Olympics of the art world, attracted over 500,000 international visitors.

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Ruth E. Carter, a Smartphone Orchestra, bingo, trivia nights, and more, providing a unique space for community engagement. The PAM CUT summer camps engaged 748 students and youth, further enriching their creative journeys.

We are proud to announce that we added 763 objects to our collection this year, including significant works by renowned artists such as Carrie Mae Weems and Simone Leigh. Our team has been dedicated to not only acquiring but also conserving vital pieces, like Claude Monet’s Waterlilies, with funding from Bank of America.

Finances The financial year ended on a steady note even with expected fluctuations. Attendance was up 5% over the previous year, in part thanks to downtown Portland foot traffic and tourism seeing an upward trend, and also our investment in campus security. With exciting new exhibitions and programs now on view, and the reopening of galleries on the horizon, membership has been steadily climbing and now exceeds 16,000 households.

The Museum made significant strides in fostering lifelong learning and community connection through the arts, demonstrating a strong commitment to accessibility and inclusion. Our educational outreach included distributing over 2,800 art posters to schools and serving more than 11,000 students from 191 schools through tours, camps, and other programs. The Teacher Advisory Council collaborated with over 900 educators to promote arts integration across the curriculum.

We also proudly hosted the HeART of Portland Student Arts Showcase, featuring over 1,000 Portland Public School K-12 artists, and the annual POWER UP event celebrating LGBTQ2SIA+ youth.

Contributions and grants from individuals, foundations, and corporations made up 36% of our total revenue; and support from our endowment was another 16%. Overall, donations accounted for over 50% of our total funding. Earned income including revenue from Event Space Rentals was up 24% from the previous year. On the expense side, staff and professional services made up the largest share at 66% of the total. We are pleased to report that we continued adding back staff lost during the pandemic and are planning for the reopening of the transformed Museum this fall.

By the Numbers 259,191

Visitors engaged

20%

Enjoyed free admission

26,845

Students and youth inspired

15,374

Members empowered our mission

939

Educators engaged through programs and tours

512

Artists served

Through partnerships with over 500 artists and 50 community organizations, we enriched our community and made art accessible to all.

Our initiatives also reached new heights with 50 public and educational programs engaging over 20,000 participants, the return of Free First Thursdays funded by the Art Bridges Foundation, and a paid college guide pilot program in partnership with local colleges.

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VENICE BIENNALE’S LASTING IMPACT The Portland Art Museum and SITE Santa Fe, in collaboration with the U.S. Department of State, proudly presented Jeffrey Gibson as the U.S. representative at the 60th International Art Exhibition of La Biennale di Venezia (Venice Biennale). Jeffrey Gibson: the space in which to place me, showcased Gibson’s vibrant vision blending cultural histories and powerful storytelling from April 20 to November 24, 2024.

The exhibition marked a historic milestone as Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, became the first Indigenous artist to represent the U.S. with a solo exhibition.

Co-curated by Kathleen Ash-Milby (Navajo Nation), Curator of Native American Art at the Portland Art Museum, and independent curator Abigail Winograd, it was also the first U.S. Pavilion commissioned and curated by a Native American curator. Over eight months, Jeffrey Gibson: the space in which to place me

welcomed 567,000 visitors, elevating Gibson’s work and the Portland Art Museum’s global profile.

drag queen Carla Rossi (Confederated Tribes of Grand Ronde and Siletz) and Laura Ortman (White Mountain Apache).

Media from around the globe praised the exhibition in more than 700 pieces of coverage, with major features and interviews amplifying its impact. Pre-opening festivities celebrated Indigenous representation with remarks by Chief Cyrus Ben (Mississippi Band of Choctaw Indians) and activations by artists including Portland artist Anthony Hudson, a.k.a. Native

Programming highlights included the Venice Indigenous Arts School (IAIA) in June and a convening of scholars, artists, and students with Bard College in October. To support Jeffrey Gibson’s commitment to transforming Native art education, the Portland Art Museum and SITE Santa Fe created a K-12 Educator Cohort of 10 educators—five from Oregon and five from New Mexico—specializing in Native arts. They visited Venice, attended the IAIA’s Venice Indigenous Art School, and participated in the Bard College convening. The cohort is developing free resources for educators that will be available on the museum’s project website and the Smithsonian Institution’s website, Native Knowledge 360. They plan to lead teacher workshops in the coming year.

A forthcoming exhibition catalogue which launches this August will document the project’s lasting impact.

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TOP: Layli Long Soldier and Jeffrey Gibson at the scholar convening in Venice, October 2024; BOTTOM: Dancers who performed at Jeffrey Gibson: the space in which to place me at the Museum’s November 2024 Miller Free Day: Front row: Michelle Reed, Wonzie Tiger, Kathleen Ash-Milby, Jaida Whitecloud, Sarah Ortegon HighWalking. Back row: Xavier Littlehead, Hunter Blassingame, Kevin Connywerdy.

WIEDEN+KENNEDY TEAMS UP WITH PAM New campaign identifies and celebrates the “Art Person” in all of us This year the Museum has launched Everybody Is an Art Person, a brand awareness campaign featuring the creative vision of global independent creative company Wieden+Kennedy. The campaign emphasizes that any person who is passionate about craft, intention, and style is an “art person” whether they’ve ever set foot in a museum or not. “We believe everybody is an art person,” said Wieden+Kennedy global Chief Creative Officer Susan Hoffman. “Whether you’re into Monet, comic books, sneakers, or ice cream, we recognize that there are many ways to be an art person. All are welcome at PAM.” Messaging and visuals will be seen regionwide on social media, billboards, posters, and giveaways. The Museum is partnering with Nike, Salt & Straw Ice Cream, Smith Tea, the

Portland Trail Blazers, and Roseline Coffee, among others who believe in PAM’s mission, to bring the campaign to life with custom products, special events, and more.

Coinciding with the final months of the Connection Campaign benefitting the Museum’s transformation, the brand campaign will also play a role in getting the Portland community excited for the reopening on November 20, 2025.

“We are so grateful to Wieden+Kennedy’s incredible creative leaders for sharing their time and expertise with the Museum for this effort,” said PAM Director Brian Ferriso. “Their excitement and support of this project have beautifully amplified PAM’s vision and role in the community.”

The Museum’s campus transformation, with a new four-story glass Rothko Pavilion at its center, is a physical manifestation of a vision to create a place where art is open to all— welcoming more kinds of art (and art people) with more space, more community, and more points of view. At its core, the historic expansion represents PAM’s belief that Everybody Is an Art Person.

To celebrate this vision, we’re excited to offer a special thank-you to our supporters: Donors who contribute $100 or more will receive an exclusive Everybody Is an Art Person tote bag.

It’s our way of sharing our belief that art is for everyone—carry it proudly and be part of the transformation! Learn more at pam.to/artperson.

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MUSEUM CREATES BLACK ART AND EXPERIENCES GALLERY THANKS TO MULTI-YEAR GRANT FROM 1803 FUND

recently reflected in the 2023 exhibition Black Artists of Oregon, curated by Intisar Abioto, which explored the Black diasporic experiences particular to the Pacific Northwest from the 1880s to the present day.

When the expanded and transformed Museum opens this November, it will include a new dedicated gallery space with exhibition programming focused on Black art and experiences, thanks to a generous multi-year grant from 1803 Fund. The award establishes a five-year partnership between the Museum and 1803 Fund, a nonprofit committed to rebuilding and strengthening the historically Black community in North and Northeast Portland.

Through this exciting partnership, PAM will continue to build upon efforts to diversify its collection and exhibition programming and uplift historically underrepresented artists.

Situated on the first floor of the Jubitz Center for Modern and Contemporary Art in the Mark Building, the new Black Art and Experiences gallery will be visible through the Museum’s transparent façade as visitors traverse the public community passageway, expanding the reach of these installations and contributing to the integration of cultural and

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public life in downtown Portland. In this space, the Museum will showcase works by local, regional, and global Black artists and present exhibitions, performances, and programs that reflect the multitude of Black experiences; the Museum’s goal is to establish an endowment for a dedicated curatorial position. The new gallery is the latest initiative in PAM’s ongoing commitment to center Black voices, most

“1803 Fund is excited to partner with the Portland Art Museum for Black Art and Experiences,” said Rukaiyah Adams, Chief Executive Officer of 1803 Fund. “This partnership is a meaningful evolution—moving from Black artists and audiences petitioning for admission into hushed, venerated spaces, and moving toward working in collaboration on dynamic places that uplift our collective creativity and highest aspirations. We are excited to become strategic partners to PAM.” The inaugural presentation for the November opening will encompass four exhibitions: a solo exhibition by Portland artist artist Lisa Jarrett; an exhibition of prints by Black artists drawn from PAM’s collection, including recent acquisitions of works by Derrick Adams, Robert Pruitt, Alison Saar, and Gary Simmons; a video installation by Mickalene Thomas; and a series of performances with artists Noah Beckham, Miles Greenberg, and Bridgette Hickey.

The exhibitions are organized by Portland Art Museum curatorial staff Sara Krajewski, Jaleesa Johnston, and Mary Weaver Chapin.

TOP LEFT: Derrick Adams (American, born 1970), Boy on Swan Float, 2020, woodblock and screen print with fabric collage on Rives BFK paper, Museum Purchase: Funds provided by Greg and Cathy Tibbles. Portland Art Museum, Portland, Oregon, 2020.40.1. © Derrick Adams; TOP RIGHT: Gary Simmons (American, born 1964), Flaming Boom Box, 2005, color lithograph, Gift of Nancy and Theo Downes-Le Guin. Portland Art Museum, Portland, Oregon, 2022.7.4. © 1993 Gary Simmons, Courtesy of Metro Pictures; MIDDLE: Alison Saar (American, born 1956), Trotters, 2019, multi-block linocut on paper, Museum Purchase: Funds provided by Greg and Cathy Tibbles. Portland Art Museum, Portland, Oregon, 2021.35.1. © Alison Saar. Courtesy of L.A. Louver, Venice, CA.

PAM CUT

PAM CUT ANNOUNCES HONOREES FOR 2025 CINEMA UNBOUND AWARDS Sixth annual awards will honor boundary-pushing artists including Sarah Sherman, Marco Brambilla, Earl Ninsom, Carson Ellis, and Colin Meloy On Friday, May 30, 2025, Portland Art Museum’s PAM CUT // Center for an Untold Tomorrow hosts the sixth annual Cinema Unbound Awards, honoring multi-disciplinary media artists at the forefront of innovation in arts and culture. The evening benefits PAM CUT // Center for an Untold Tomorrow, a vital part of the Portland Art Museum dedicated to celebrating artists who defy labels or easy categorization in cinematic storytelling including film, series, audio storytelling, gaming, animation, and XR. Featuring a culinary takeover by James Beard Award–winning chef Earl Ninsom (EEM, Langbaan, Hat Yai, Yaowarat) and hosted by Portland-based maximalist drag starlet Violet Hex, the evening celebrates local artists, storytellers, and performers, highlighting Portland’s incredible, vibrant multimedia scene.

Cinema Unbound Awards public programming will also take place at PAM CUT’s Tomorrow Theater, including a Carte Blanche event with Marco Brambilla on Saturday, May 31, at 7 p.m.

About the Honorees Creative Polymath

Astonishing Artist

SARAH SHERMAN

MARCO BRAMBILLA

One of the most fearless performers working today, 2025 Creative Polymath Sarah Sherman, also known by her stage name Sarah Squirm, is a comedian and cast member of Saturday Night Live, celebrated for her surreal, body-horrorinspired humor. She has also contributed to other projects like Magic for Humans and Three Busy Debras, The Eric Andre Show, and You Are So Not Invited to My Bat Mitzvah.

Marco Brambilla is a filmmaker and one of the most prolific multi-media artists working today. With work shown at The Sphere, Chateau Marmont, and top museums around the world, his visionary approach to using new technologies and digital storytelling is seen in his ongoing work the Megaplex Series, which combines Northern Renaissance ideas around humanism with collaged Hollywood imagery to turn cinematic storytelling—and the stereotypes, visions, and spin it brings—on its head. Brambilla’s work Heaven’s Gate and select pieces from his ongoing Megaplex Series will also be presented as the inaugural exhibition in PAM’s Blair New Media Gallery.

Spectacular Storytellers

Tastemaking Trailblazer

CARSON ELLIS & COLIN MELOY

EARL NINSOM

Portland-based collaborators Carson Ellis and Colin Meloy are the duo behind the wildly successful young adult book series Wildwood Chronicles. The first in that series, Wildwood, is being adapted as a stop-motion animated feature by LAIKA.

Critics today regard the Bangkok, Thailand– born restaurateur Earl Ninsom among the most talented chefs/restaurateurs in Portland, Oregon, where he helms a small empire of nationally acclaimed Thai restaurants—including EEM, Langbaan, Hat Yai, Paadee, Phuket Cafe, and the recently opened Yaowarat. Both The Oregonian and Portland Monthly crowned EEM restaurant of the year in 2019, and Langbaan in 2014. GQ ranked Langbaan second on its list of the “25 Most Outstanding Restaurants of 2015.”

Hat Yai landed on USA Today’s “Top 10 Best New Restaurants” in 2016. Recently opened Yaowarat was named the 2023 restaurant of the year by Portland Monthly. In 2024, Langbaan won a James Beard Award for Outstanding Restaurant.

Colin Meloy is a writer and musician best known as the lead singer and songwriter for the twice Grammy-nominated Portland-based band The Decemberists. He is also the New York Times bestselling author of five books for middle-grade readers, including the awardwinning Wildwood Chronicles.

Carson Ellis is the author and illustrator of the bestselling picture books Home and Du Iz Tak?, a Caldecott Honor book and the recipient of an E.B. White Read Aloud Award.

She has illustrated a number of books for kids including The Mysterious Benedict Society by Trenton Lee Stewart, The Composer Is Dead by Lemony Snicket, and the Wildwood Chronicles series by her husband, Colin Meloy. She’s the illustrator-in-residence for The Decemberists, and received Grammy nominations in 2016 and 2018 for album art design. She works occasionally as an editorial illustrator for The New Yorker, The New York Times, The New York Review of Books, and other publications.

Learn more about the Cinema Unbound Awards at pam.to/2025-cua Visionary Sponsors: LAIKA, Skylight Collective.

Changemaker Sponsors: Alaska Airlines, The Ritz Family, INDUSTRY. Trailblazer Sponsor: Mary & Don Blair. Event Sponsors: KeyBank, Reserve Golf Course, Portland Events & Film.

Cheerleaders: Barbara Silver, Oregon Film, Leverenze and Associates.

COMING SOON TO THE TOMORROW THEATER This spring and summer, PAM CUT’s Tomorrow Theater is thrilled to expand our offerings to include even more podcasts and live events! Kicking off our season, we’ll host former Sundance Film Festival directors Tabitha Jackson and John Cooper in conversation with a special guest who will share the film that blew their mind for their live podcast. We will also welcome back Oregon Humanities’ Consider This podcast, featuring a conversation about reinventing American democracy with public policy expert Danielle Allen; an even more unhinged drag queen therapy session with Ask Dr. Carla; and newcomer comedians The Not That Late Show!

Our Carte Blanche series has ramped up and is full speed ahead. This past fall and winter we hosted cinematographer and documentarian Kirsten Johnson, comedian and director Julio Torres, cinematographer and director Rachel Morrison, musician and storyteller Ani DiFranco, playwright and rapper Radha Blank, artist and author Miranda July, and actress and series creator Stephanie Hsu. We’ll kick off the summer season with a Carte Blanche conversation featuring multimedia artist Marco Brambilla, whose work will be part of the inaugural installation in the Museum’s New Media gallery when it opens later this year.

We’ll also continue our monthly partner screenings with films and salon-style discussions hosted by our friends at Nationale; Self-Care Sunday films with offerings from the wellness experts at woo-woo; Crafternoons led by the fiber-arts masters at Ritual Dyes; and, of course, our signature Bingo GAME-O-RAMAs hosted by Violet Hex! Fun & Flirty will also

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stop by the theater with their comedy speed dating extravaganza, and Reese Bowes will join us for a live remixing of an impressionist film.

Your membership includes PAM CUT benefits, including discounted Tomorrow Theater programming. Please see page 30 for more details. Don’t miss a minute of spring and summer screenings and happenings! Stay tuned to tomorrowtheater.org or @pam_cut on Instagram for all the latest PAM CUT screenings and experiences. Tickets are on sale now!

MEMBERS & PATRONS

JUST FOR MEMBERS

Don’t miss out! As we reopen our newly expanded and renovated campus, members are invited to be part of special events, behindthe-scenes talks, and more.

Make sure we have your current email address on file to learn about new opportunities for members, including last-minute ticket offers, member events, pop-up programs, film screenings, artist and curator talks, and more! Keep up-to-date by reading our regular Member Highlights emails, and watch your inbox for the next big thing coming soon!

Coffee with the Director: A Museum Transformed JUNE 8, 2025, 11 A.M.

As we near the completion of our campus expansion and renovation, members will hear from Museum Director Brian Ferriso in the latest edition of our popular Coffee with a Curator series of talks.

In a special behind-the-scenes overview, Brian will present exciting updates on our progress and our plans for reopening in November from his unique perspective as Director of the Museum.

Come get excited about the reopening of beloved gallery space and the transformation of our Museum in this very special talk, just for members!

Please note: Reservations required. Limited ticket availability. Check your inbox for your email invitation to reserve tickets.

Did You Know?

Your Portland Art Museum membership also includes PAM CUT and Tomorrow Theater programming!

What kind of benefits do I get?

Members receive special discounts on the wide variety of multimedia programming at the Tomorrow Theater, as well as other innovative PAM CUT programming, including summer camps and classes.

What’s the Tomorrow Theater?

The Tomorrow Theater is our 250-seat eastside theater space devoted to cinema, art, and multimedia storytelling. With special curation by guest artists, partners, and creatives, every night at the Theater will bring something different: from film, dance, and comedy to music, XR, performance, and more. When audiences walk into the theater, they will never quite know what Tomorrow brings!

How do I access these benefits?

Make sure we have your current email address on file and watch your inbox for information on discount codes and limited-time special opportunities for members, including free ticket offers, event presales, and more.

Learn more about PAM CUT and the Tomorrow Theater at portlandartmuseum.org/pam-cut

MEMBER SERVICES

Visiting the Museum as a member Members receive FREE admission to the Museum (a savings of $25 per ticket!). Current membership card and/or photo identification are required for entry on the day of your visit.

Please note that member tickets are limited to the individual(s) listed on your membership cards.

Annual Automatic Renewal and Monthly Installment Plans Available Prefer to pay monthly or have your membership renewed automatically? Our monthly installment and automatic renewal options are available to make joining or renewing easier than ever. Call us at 503-276-4249 to sign up to have your membership renewed automatically, or set up payments in installments of as low as $13.33 a month.

Your Digital Membership Cards Just a reminder: your membership includes a digital membership card!

Digital cards are sent by email after you join or renew. Check your inbox for an email with the subject line “Your New Membership Card.” This email includes instructions on how to download your digital card to a phone or mobile device to present at the Museum’s box office for admission.

Need to update your contact info or have questions about your membership status? We are here to help!

HOURS: Monday – Friday, 9 a.m. – 5 p.m. PHONE: 503-276-4249 EMAIL: membership@pam.org FAQS: portlandartmuseum.org/faqs

PATRON SOCIETY

Patrons are among the Museum’s most devoted supporters, and enjoy meaningful opportunities throughout the year to connect with each other and our institution. Join today and strengthen your connection to the Museum and your fellow art champions.

Become a member of the Patron Society and deepen your connection through: • Exclusive Patron exhibition openings and viewing opportunities

FEATURED PATRON EXPERIENCES Travel with us to the Seattle Art Fair!

JULY 17–20, 2025 We are pleased to announce that we’ll return to Seattle this summer. Attend the VIP opening of the Seattle Art Fair, enjoy world-class dining, tour private collections, and more!

For more information, please contact: Harper Brokaw-Falbo, Donor Engagement Manager, at 503-276-4297 or harper.brokaw-falbo@pam.org.

• First access to special events such as the Cinema Unbound Awards and Gala • Private guided tours of current exhibitions • Art-focused travel opportunities with fellow Patrons, from local gems to global destinations

INTERESTED IN SAVE THE DATE JOINING THE PATRON SOCIETY? Cocktails with the Curators: Here are a few easy ways to join or upgrade your membership today: New Acquisitions • Visit our website at pam.to/patron and our Inaugural Year • Mail a check to the attention of Development Office *Please put “Patron Society membership” in the memo line

• Contact Megan Tomson, Patron & Annual Giving Officer, by phone at 503-276-4298 or by email at megan.tomson@pam.org Ask about monthly installment options.

JULY 9, 2025 Join us for an exclusive evening designed for Patrons, offering an early look at new acquisitions and exhibitions for the Rothko Pavilion and expanded campus, opening November 20, 2025.

This intimate gathering invites you to explore the creative vision behind the upcoming reinstallation and discover exciting new additions to the Museum’s collection.

SAVE THE DATE

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer SEPTEMBER 5, 2025 Save the date for a Patron celebration of this exciting exhibition from Portland’s own Jordan D. Schnitzer. The exhibition highlights recent acquisitions, including works by such celebrated artists as Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

SAVE THE DATE

Inaugural Year Gala DECEMBER 12, 2025 Join us for an unforgettable evening and campus-wide celebration with live music, popup performances, gourmet treats, and more.

Sip, mingle, and dance the night away as we toast to this momentous occasion!

THANK YOU TO OUR PATRON SOCIETY MEMBERS!

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THANK YOU, MEMBERS AND SUPPORTERS! The Portland Art Museum extends our heartfelt thanks to our members and donors for your incredible generosity during the Connection Campaign.

Your support has brought us closer to realizing our vision of a more accessible, inclusive, and engaging Museum campus.

We also express our deep gratitude to Charlie and Darci Swindells, who generously matched $250,000 in gifts from members during this phase of the campaign. As they put it, “We are native Oregonians and have chosen to remain in Portland during these tough times.

We appreciate the beauty of our area and believe in the resilience of our city. We wanted to be part of creating a solid foundation for the downtown area and a reason to bring people back to Portland.”

Your support ensures that the Museum remains a vibrant cultural hub for all. We look forward to celebrating with you in our new campus spaces, where together we can continue to explore, learn, and connect through art.

Throughout this campaign, we have been inspired by the stories of why you chose to give.

“I grew up in a family that valued beauty in nature, art, people, and stories, and giving to the Portland Art Museum in my mother’s name felt like the perfect way to honor that legacy. I hope you will join me in giving what you can!

Together we can honor the legacies of those who shaped us, while creating a space that teaches so many about beauty and community.”

“I am so impressed and proud of the Museum and our city. As an artist, I hold dearest to my heart the museum that gave me my first show, and I’m proud to support this beautiful transformation. We will always support you.

Many thanks to all who are making this beautiful transformation possible.”

—LAURA ROSS-PAUL

—EILIDH LOWERY

“The Portland Art Museum has been a part of my life since grade school, and I’m honored to give back so future generations can discover the same love for art that I did as a young visitor.”

—RICHARD B. THOMPSON

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“The Museum punches far above its weight, bringing world-class art to our doorstep— now, with the Rothko Pavilion, its future is brighter than ever. We are happy to be able to contribute to the Connection Campaign, helping the Museum realize a bright future.”

—RICHARD AND SANDY HELMICK

Members, thank you for your generosity and belief in our mission—we can’t wait to share this exciting next chapter with you! There’s still time to make your gift and be part of something meaningful!

GIFTS & GRATITUDE

THANK YOU

We gratefully acknowledge members of the Patron Society, whose generous support makes our mission possible.

All active members of our Patron Society as of February 28, 2025 *deceased CHAIRMAN’S CIRCLE ($25,000+)

Berggruen Institute Mary and Tim Boyle Cheney and Mary Cowles Janet H. Geary Susan Hyde Hoffman and Fred L. Trullinger Mr. and Mrs. Frederick D. Jubitz Pat Reser and William Westphal Pat and Trudy Ritz The Smidt Foundation Bill and Helen Jo Whitsell Anonymous (2)

DIRECTOR’S CIRCLE ($10,000+)

Linda and Scott Andrews Stephen and Melissa Babson Amjad and Helen Bangash Sharon and Keith Barnes Missy and Peter Bechen Mrs. Mary Cecilia Becker Deborah Bergman Daniel Bergsvik and Donald Hastler Mary and Don Blair Mary Lee Boklund Cheryl and John Bradley Barbara B. Brady Richard Louis Brown and Thomas Mark Bryce Butler Cascadia Foundation Rick Caskey Mary Chomenko Hinckley and Gregory K. Hinckley Conrad Clark Truman Collins and Nancy Ives Bart and Emma Colson Anne and James F. Crumpacker Elizabeth and Kirk Day Paul and Pamela De Boni Christelle and Jon deAsis Brian Ferriso and Amy Pellegrin Lana and Chris Finley Ann Flowerree Stephanie Fowler and Irving Levin

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Katherine and Mark Frandsen Alix and Tom Goodman Mark and Christi Goodman / Downtown Development Group Hampton Family Foundation Judy* and Hank Hummelt Mr. David J. Johnson Heather Killough Nick and Patty Knapp Ross P. Laguzza Lematta Foundation Liz Malarkey Cyndy and Edward Maletis Jay and Tonia Mason Lani McGregor and Daniel Schwoerer Sarah Miller Meigs and Andrew Meigs Jeanette and Bruce Morrison Dan and Carolyn O’Doherty Jin and Julieann Park Travers and Vasek Polak Portland Trail Blazers Rolando and Megan Pozos Charles Putney Naomi S. Sarna Jordan D. Schnitzer Ms. Marcy Schwartz Grace Serbu and Ivan Gold Silver Family Angela and Rex Snow Julie and Peter Stott Catherine and Bob Sweeney Greg and Cathy Tibbles Joseph R. Trpik, Jr. and JaCee M. Burnes Mr. and Mrs. Robert Warren, Jr. Wendy Warren and Thomas Brown Willamette Dental Group Susan Winkler Anonymous (4)

LEADERSHIP CIRCLE ($5,000+)

Anthony and Martha Belluschi Mrs. Mary Bishop Mr. Richard Born Bruce and Brenda Burns

Katherine and Vincent Cahill Carlos and Monica Camin Marilyn Caskey Cynthia and Stanley Cohan Jed A. Cohen and Paul B. Lance Michael P. Devine and Elizabeth Devine Theo and Nancy Downes-Le Guin Jill Schnitzer Edelson and Richard Edelson Ann and Mark Edlen Marg Enburg Ferguson Wellman Capital Management, Inc. Flynn BEC LP Jill and Tony Garvey Sally C. Gibson Leona and Patrick Green Mr. Henry L. Hillman, Jr. Dr. Roy D. Johnson Mrs. Salena Johnson Kathy and Gordon Keane Judy Carlson Kelley April Knapp LAIKA Dr. Dolores Leon Kathleen Lewis Jerry and Susie Logan Bill and Melinda Maginnis David and Dolorosa Margulis Diane Forsgren McCall Mike and Judy McCuddy Mr. and Mrs. R. Barry Menashe Simone Lichty and Andrew Merz Brad and Nancy Miller Mortenson Construction Tom Neilsen Mark New and Robin Snyder Rebecca Phillips Precision Garage Door Service Mr. David Roche Richard and Deanne Rubinstein Marilyn Rudin and Richard Testut Robert and Bonnie Schlieman Dori Schnitzer and Mark Brown Lois T. Schnitzer* Susan Schnitzer and Greg Goodman

Soho House Portland Angela E. Summers Darci and Charlie Swindells Phyllis and Theodore Swindells The Standard Cheryl Tonkin Robert Trotman Amy Weaver and Jeff Fisher Janet Williamson Kim Ziebell Vernissage Fund Anonymous

GUARANTOR ($3,000+)

Carole F. Alexander Art of Catering Benson Industries, Inc. Martha Bergman James and Diane Burke Eric and Robin Busch Suzanne Carlbom Marcia and John Cohen Betty Curtis and Deborah Thomas Cameron and Dick Davis Jen Deale and Chris Spicer Devil’s Food Catering Mr. Kirk Dobbins and Dr. Herbert Kitchen Elephants Delicatessen Susan Fernald James FitzGerald and Karen Howe Suzanne Geary Barbara and Carolyn Ghrist Mrs. Barbara Giesy Sarah Goodlin Hennebery Eddy Architects, Inc. Hoda’s Lebanese Restaurant and Catering Kerri and Josh Hoffman Mr. and Mrs. Ed Jensen Heidi and Doug Kirkpatrick Donna L. Larson Nancy Leavens Ross M. Lienhart and Janeese Jackson Peter and Susie Lynn Diane and Thomas Mackenzie

Linda and Ken Mantel Jean Marglous and Melinda Maas Naomi Matusow McKinstry Mrs. Elizabeth Menashe Mia Hall Miller and Matt Miller Jeffrey Morgan Adrienne Nowers Adlai Pappy Geoff Peters and Lenka Jelinek Brenda J. Peterson Mr. and Mrs. Robert W. Philip Portland Metro Chamber Bob and Marilyn Ridgley Mary M. Sayler Amy Smith Mr. David M. Staehely Stoel Rives LLP Ambassador Charles J. and Caroline H. Swindells Christine and David Vernier Vibrant Table Catering and Events Inc. Linda and Richard Ward White Pepper Jo Whitsell Victor Winkler Jonathan and Pearl Yu Craig and Suzanne Zarling Nancy Ziegler Nodelman and Dwight Strong

BENEFACTOR ($2,000+)

Luisa Adrianzen Guyer and Leigh Guyer Roudi Akhavein Paul and Grace Andrews Peter and Maddie Andrews Dr. Lisa Andrus-Rivera Jean and Ray Auel Joan Lamb Baldwin Mr. Howard Baldwin and Monica Delzeit Ballard Spahr Lane Powell Jane and Steve Benight Pamela H. Berg Dana and Josephine Berger

CLOCKWISE FROM TOP LEFT: Cory Hansen and Angela Snow at the Patron Opening of Monet’s Floating Worlds at Giverny: Portland’s Waterlilies Resurfaces; Trustee Linda Andrews with Marcy Schwartz, Barbara Loste and Robert Werckle at the Patron Holiday Soirée; Ré Bryan-Craig at at Patron Opening of Monet’s Floating Worlds at Giverny; Trustee Mark Frandsen, and Katherine Frandsen at the Patron Opening of Monet’s Floating Worlds at Giverny; Board Chair Cyndy Maletis with Director Brian Ferriso at the Patron Opening of Monet’s Floating Worlds at Giverny.

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Janice Bleibaum Margaret Bolger and Patrick Simpson Buzz Braley Kay and Marty Brantley Steve and Eileen Brennan Deborah A. and Terrell D. Brown Andy and Nancy Bryant Lucy M. Buchanan Garrett Julia and Edouard Chaltiel Minah Cho Titcomb and Chapin Weyerhaeuser Chubb Insurance Mike and Tracey Clark Kimberly B. Cooper and Jon Jaqua Kathleen and Paul Cosgrove Ré Craig Clifford Curry and H. Delight Stone D.A. Davidson & Co. Bee and Douglas de Weese George and Barbara Dechet Barbara Delano and John Wyckoff Mary R. Dick DLR Group Margueritte H. Drake Nancy Duhnkrack Mr. Barry A. Edwards Elizabeth Leach Gallery

Ron and Ann Emmerson Jerry Fong Alyssa Forsyth Carol M. Frankel Andra Georges and Timothy Shepard William Gilliland Mrs. Karen N. Groth Sandy and Jeff Grubb Edward J. Hamilton Bob and Janis Harrison Judith H. Heltzel Diane M. Herrmann Thomas S. Hicks and Tanja Renee David Hilts Mary and Gordon Hoffman John and Karen Hoke Dan and Pat Holmquist John and Lisa Holtz W. Sheldon and Karen P. Hurst Joshua and Kerstin Husbands Imperative Logistics Group Diane F. Jarvis Jude Jeannis David Jentz Brad Johnston and Julie C. Evans Jessie Jonas Sanjiv and Cindy Kaul

Jack Knight Cheryl and Chick Kozloff Caryl Kwan Hoffman Ms. Bonnie Laing-Malcolmson and Jack Woida Helena Barbey Lankton Bree LaNoue Bonnie Laun John and Marilyn Lindgren Dina Lindquist and Larry Roper Connie E. Lovejoy Louise and Bruce Magun Lisa and Shawn Mangum Mario’s Mr. and Mrs. M. James Mark Sandra and Robert Mattielli Jim and Char McCreight Anjanette and Brue McHayle Ken and Ryna Mehr Thomas Mesher MeyerPro, Inc. Donald Mickey and Stephanie Feeney Alison P. Miller James Monteith Mia Hervin Moore and Jon Moore Jim and Tracy Morse Deanna and Wilfried Mueller-Crispin

Anne and Ernie Munch Judy Murphy Lindy J. Narver Gareth and Lisa Nevitt John and Virginia Niemeyer Oregon Electric Group Andrea Pastega Vloon and Remco Vloon PDX Contemporary Art Katherine Pease and John Saurenman Charles and Ruth Poindexter David and Shirley Pollock David James Pollock Dee Poth Bob Powers Bettsy and Wallace Preble Ms. Janice E. Quivey Ron* and Lee Ragen Diane and Herbert Rankin David and Madie Richenstein Rogers Machinery Company, Inc. Louise Roman and Will Bruder Jean and Steve Roth Linda Sanduski Bonnie Serkin and Will Emery ShedRain Corporation Peter Shinbach Skylight Collective, LLC

Swigert Foundation William R. Swindells and Heather L. Castro Kim Cassel Tardie Prof. Nora Terwilliger The Brodinsky Foundation for the Arts and Humanities Rev. Richard B. Thompson Marta and Ken Thrasher UBS Financial Services Inc. Missy P. Vaux Vernier Science Education Vinci | Hamp Architects, Inc. Washington Trust Bank Nancy Weaver Ms. Sara Weinstein and Mr. Frank B. Piacentini Wendy Wells Jackson Mr. Walter E. Weyler Wildwood & Company Mark Williams Anonymous

We gratefully acknowledge our major supporters of Exhibitions, Learning & Community Partnerships, and the Museum Fund, who help make all of our work possible.

As of March 31, 2025 PRESENTING

Art Bridges Foundation Mary and Tim Boyle City of Portland William G. Gilmore Foundation Institute of Museum and Library Services Mary and Pete Mark Family Foundation The Laura and Roger Meier Family The James F. and Marion L. Miller Foundation Oregon Community Foundation Springer Philanthropic Fund State of Oregon Anonymous

LEAD

Mary and Cheney Cowles Ann Flowerree / Flowerree Foundation McGraw Family Foundation Pat and Trudy Ritz Joseph E. Weston Public Foundation of the Oregon Community Foundation

MAJOR

Cooper Dubois and Sanda Stein The Smidt Foundation Bill and Helen Jo Whitsell Janet Macomber Williamson

Support is also provided by the Sharon and Keith Barnes Endowment, Maribeth Collins Exhibition Endowment, Ritz Family Exhibition Endowment, the Arlene and Harold Schnitzer Endowment for Exhibition, and the Pamplin Foundation for the Arts. The Museum gratefully acknowledges all members who have continued to support the Museum on an annual basis through their membership contributions. 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.

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SPONSOR

Allen Trust Company Dan Wieden* and Priscilla Bernard Wieden Kirk and Elizabeth Day The Lamb Baldwin Foundation Dorothy Lemelson Foundation Netx Northern Trust Oregon Arts Commission Robert Trotman Interior Design Barbara and Phil Silver / Silver Family Foundation The Swigert Warren Foundation Cheryl Tonkin in memory of Alan Baron Tonkin

Rose E. Tucker Charitable Trust The Wyss Foundation Phyllis A. Yes in honor of Grace Kook-Anderson

CLOCKWISE FROM TOP LEFT—Scenes from the 2024 Annual Members Meeting: Trustees Brue McHayle and Linda Andrews, with Scott Andrews, Gareth Nevitt, Chief Financial Officer, and Luisa Adrianzen Guyer; Trustee Sharon Barnes; Charlotte Ameringer, Chief Conservator; Grace Kook-Anderson, Curator of Northwest Art, with a member; Members view the Mark Rothko Pavilion under construction.

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CLOCKWISE FROM TOP LEFT: Trustees Alix Meier Goodman and Lana Finley at the Alix Meier Goodman Celebration; Board Chair Cyndy Maletis and Trustee Alix Meier Goodman at the Alix Meier Goodman Celebration; Karie Burch, Chief Development Officer, with Trustee Pat Ritz, Trudy Ritz, and Mary Weaver Chapin, Curator of Prints and Drawings, at the 2025 Fine Print Fair; Trustee Dan Bergsvik and Don Hastler at the 2025 Fine Print Fair; Visitors enjoying the 2025 Fine Print Fair.

SUPPORT THE PORTLAND ART MUSEUM IN A WAY THAT’S MEANINGFUL TO YOU Every gift to the Portland Art Museum—no matter the size—helps bring art to life for our community. Your generosity fuels world-class exhibitions, educational programs, and experiences that inspire creativity, connection, and discovery. Whether you choose to make a one-time donation, contribute through your workplace, or leave a lasting legacy, your support makes a difference.

Here are some impactful ways to give: Give Through a Donor-Advised Fund, Stock, or IRA Consider making a gift through a donoradvised fund, appreciated stock, or an IRA qualified charitable distribution. These giving options can offer significant tax advantages while providing vital support to the Museum’s mission.

Leave a Legacy with a Planned Gift A planned or blended gift is a powerful way to leave a lasting legacy. By including the Portland Art Museum in your estate plans, you help secure our mission for generations to come.

Give a Gift in Honor of Someone Special Make a donation in honor or memory of a loved one to celebrate their passion for the arts.

Your tribute gift supports the Museum’s mission while recognizing someone meaningful in your life.

Explore Workplace and Corporate Giving Many companies match employee donations, multiplying the impact of your support. Check with your employer to see if they participate in a workplace giving program. If your organization is interested in supporting the arts, we also welcome corporate sponsorships and partnerships.

For more information or to discuss the best giving option for you, please contact our Development Office at 503-276-4365 or email development@pam.org. Thank you for supporting the Museum and ensuring that art continues to inspire and enrich our community for generations to come.

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SHOP FOR ART The Portland Art Museum’s retail and rental programs help support our mission of engaging and inspiring the community through art.

Rental Sales Gallery

PAM Venues

Located just behind the Museum at Southwest 10th Avenue and Jefferson Street, our Rental Sales Gallery offers a great opportunity to fill your walls with stunning original fine art, through either purchases or our art rental program. RSG is open for walk-in services.

Support the Museum mission through a private event with PAM Venues! Whether you are planning an intimate wedding, a 500-person fundraiser, or any other milestone event, we offer a diverse assortment of unique event spaces, including the Museum’s beautiful Kridel Grand Ballroom (pictured), featuring incredible lighting and audiovisual systems for a stateof-the-art experience. Our venue provides an event experience that your guests will never forget. Visit portlandartmuseum.org/pam-venues

The Spring Member Artist Show is currently on display at RSG until the end of May. Come in and see 200 of the latest works from our outstanding group of Member Artists.

The Gallery has more than 1,000 original works of art by over 200 regional artists, all available for rental or purchase. Every transaction supports our artists and Portland Art Museum.

Visit the Gallery online at rentalsalesgallery.com or contact us at 503-224-0674 or rentalsales@pam.org to find out more.

We’re open Tuesday–Saturday, 11 a.m. to 5 p.m.

With prices starting from less than $60 for a three-month rental, this is one of the most accessible ways to have beautiful, unique artworks in your home or business. RSG also offers consultation, delivery, and installation.

Museum Store The Museum Store is anxiously awaiting the completion of our beautiful new Store, which is being built in our former site and will now be adjacent to the Mark Rothko Pavilion. We expect to be moved in and open by early fall.

In the meantime, our temporary location—to the left as you come in the front entrance of the Museum on Park Avenue—will remain open during Museum visitor hours. Please come and see us! As our retail concept will be changing in the new store, The Shop at PAM, watch for big sales on merchandise in our old store this summer.

The Museum Store is also online at store.pam.org, with both shipping and instore pickup options available, and it’s easier than ever to browse the eclectic selections that the Store is known for. Use discount code MEM1219 to receive your 10% member discount on the same great merchandise you’d see in-store, online!

You can support the Museum by shopping in our Museum Store on site or online. Celebrate the art and beauty of the place we share, as well as our usual huge selection of cards, books, jewelry, handbags, scarves, and toys.

Members will receive 10% off an event booked and carried out in June through August 2025. Book early for your company’s holiday party, and as a member you will receive a 15% discount! Reach out directly to events@pam.org.

Our expert team would love to help you plan the perfect event.

EXHIBITION SCHEDULE Opening GLOBAL ICONS, LOCAL SPOTLIGHT: CONTEMPORARY ART FROM THE COLLECTIONS OF JORDAN D. SCHNITZER September 6, 2025– January 11, 2026 YOSHIDA CHIZUKO September 27, 2025– January 4, 2026

Continuing MONET’S FLOATING WORLDS AT GIVERNY: PORTLAND’S WATERLILIES RESURFACES Through August 10, 2025 PSYCHEDELIC ROCK POSTERS AND FASHION OF THE 1960s Through June 15, 2025

PROGRAMS

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

CONTACTS General Information Membership Information

HOURS

Wednesday–Sunday, 10 a.m. – 5 p.m.

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

ADMISSION

Members/Children (17 and younger)* free Adults $25 Seniors (62 and older) $22 Students (18 and older with ID) $22 *Children 14 and younger must be accompanied by an adult.

Tickets available online.

Upcoming

503-226-2811 503-276-4249

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

FREE & REDUCED

ADMISSION Every Day

Children ages 17 and younger are free.

Free First Thursdays – Museum admission and Tomorrow Theater programs are free on the first Thursday of every month with extended Museum hours to 7 p.m.

Oregon Trail Card holders can purchase up to two admissions for $5.

Blue Star Museums Program – Offers free admission to the nation’s active-duty military personnel and their families. The Museum also offers free admission for veterans.

Multnomah County Library Discovery Pass – Two free adult admissions by using a Multnomah County Library account to reserve.

College Pass – $25 for a full year of free admission for college students. Register online, then present your student ID at entry.

Additional support for Museum access programs provided

by The Lamb-Baldwin Foundation, Nancy Lematta, Miller Family Foundation, The Gordon D. Sondland and Katherine J. Durant Foundation, Joseph E. Weston Public Foundation of Oregon Community Foundation, and Art Bridges Foundation.

One-third of all visitors enjoy the Museum for free or at a highly reduced admission price.

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

1219 SW PARK AVENUE

PORTLAND, OREGON 97205

PORTLANDARTMUSEUM.ORG

We are deeply grateful for your generosity, which enables the Portland Art Museum to be a place of connection, inspiration, and discovery.

Your support brings world-class exhibitions, thought-provoking films, and enriching programs to a diverse community while preserving art for future generations. Every transformative moment—a child watching a muralist, a family exploring together, or a visitor finding meaning in art—is possible because of you. Together, we create a lasting legacy of art and culture that inspires and unites.

THANK YOU FOR BEING AT THE HEART OF EVERYTHING WE DO.

GLOBAL ICONS, LOCAL SPOTLIGHT: Contemporary Art from the Collections of Jordan D. Schnitzer SEPTEMBER 6, 2025– JANUARY 11, 2026 Jeffrey Gibson, Native American, Mississippi Band of Choctaw Indians and Cherokee, (b. 1972), SPIRIT AND MATTER, 2023, acrylic paint on elk hide inset in custom wood frame. Image copyright Jeffrey Gibson.

1219 SW PARK AVENUE, PORTLAND, OREGON 97205-2430