SPRING 2022
frida kahlo, diego rivera, and mexican modernism year in review cinema unbound awards
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FROM THE DIRECTOR
Ticketing & Timed Entry
21 NORTHWEST FILM CENTER
5 EXHIBITIONS & INSTALLATIONS
Frida Kahlo, Diego Rivera, and Mexican Modernism
APEX: Sharita Towne and A Black Art Ecology Of Portland
AUX/MUTE Gallery: In My Skin
Cinema Unbound Awards
Co:Laboratory
VR to GO
Kronos Quartet & Sam Green: A Thousand Thoughts
25 MEMBERS & PATRONS
Mesh
Patron Society
Recent Acquisitions
Patron Spotlight: Greg Tibbles
Upcoming Exhibitions
Just for Members
15 NEWS & NOTEWORTHY
29 GIFTS & GATHERINGS
Keeping Connected: Year in Review
Women Artists and the Construction of Mexicanidad
Newman Foundation Endows Lecture Series
PORTAL, VOL. 11, 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. COVER: Nickolas Muray (American, 1892–1965). Frida Kahlo on a White Bench, 1939. Carbon print, 117 7/8 x 14 1/8 in. The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © Nickolas Muray Photo Archives; LEFT: Frida Kahlo (Mexican, 1907–1954), Self-Portrait with Monkeys, 1943. Oil on canvas. The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art and the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). © 2022 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ Artists Rights Society (ARS), New York. Photo by Gerardo Suter; Shan Goshorn (American and Cherokee, 1957–2018), Chief Antoine Moise, 2015, Arches watercolor paper, pigment ink, acrylic; 4.5 x 4 x 4 in. Gift of Charles Froelick, 2021.1.2. Photo by Mario Gallucci, courtesy of Froelick Gallery and Shan Goshorn Estate; Vera Gitsevich, Russian (1897 - 1976), For the Proletarian Park of Culture and Leisure, 1932, Lithograph on paper, 40 1/2 x 27 1/2 in. (102.87 x 69.85 cm), Collection of Svetlana and Eric Silverman.
FROM THE DIRECTOR The pandemic has tested our resilience in so many ways, some more perceptible to the public than others. I am so grateful for your belief in our Museum, demonstrated by your commitment as members while we have navigated these very difficult two years. Thanks to your support, this month we are finally able to open the long-awaited exhibition Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection, which was rescheduled from summer 2020. As we get closer to finally installing these works in the galleries for our community to enjoy, I am struck by the resilience of our staff, who have worked tirelessly to make this exhibition happen, and by the commitment of our members who have joined, renewed, or come back, drawn in by this once-in-a-lifetime opportunity to see works by beloved Mexican artists, choosing to stand by us so that we can continue to bring a truly great exhibition to Portland. Frida Kahlo, Diego Rivera, and Mexican Modernism is highly anticipated not only because of pandemic delays, but because of the exhibition’s importance to our community. Coordinated by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art, this is the first large-scale exhibition we have mounted that celebrates Mexican artists. It is long overdue, and in keeping with all of our equity and inclusion work, we will continue to bring exhibitions that celebrate cultures from around the world. I am also thrilled to be honoring an incredible slate of artists in our Northwest Film Center’s third annual Cinema Unbound Awards. This March we are planning to be back in person and safely gathering to celebrate internationally known creators who blur the lines of art and push the boundaries of what is possible. These artists embrace challenge and summon incredible creative vision to bring us what’s next. We also continue to be honored by working with our community partners to make our spaces more vibrant and inclusive than ever. Visitors continue to have the opportunity to support local Black-owned businesses by shopping in The Numberz FM’s pop-up bodega within our community-driven AUX/MUTE Gallery. The Museum’s long relationship with Portland Public Schools is also flourishing despite limited field-trip opportunities. Spanish dual-language immersion students at the K-8 César Chávez School will work with our staff and local artist Patricia Vázquez Gómez to learn about Mexican Modernism and create their own art, and we are collaborating with Studio Latino, the Latino Network’s arts and culture after-school program, to welcome young students to workshops in the exhibition every month this spring. Museum visitors can look forward to seeing more artist-led projects here, including the live creation of large-scale, mural-like paintings in the Museum’s Schnitzer Sculpture Court. These strong partnerships reflect the resilient connection between the Museum and our communities.
Thank you and be well,
Brian J. Ferriso Director and Chief Curator
Director Brian Ferriso with Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art, who coordinated the Portland exhibition of Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection. Between them are two prints from the Portland Art Museum collection by José Clemente Orozco (Mexican, 1883–1949): Cabeza de mujer (Woman’s Head) (1929, lithograph on cream wove paper, Museum Purchase: Helen Thurston Ayer Fund, 46.47) and La Retaguardia (Rear Guard) (1929, lithograph on cream wove Rives BFK paper, Museum Purchase: Helen Thurston Ayer Fund, 46.46).
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TICKETING AND TIMED ENTRY FOR FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM To ensure that visitors have the safest and most enjoyable experience, our special exhibition Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection (February 19 – June 5, 2022) will require timed-entry tickets, which list a specific time for admission. We strongly recommend reserving your tickets ahead of time, as some popular time slots may be sold out by the day of your visit. 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 named individuals on your membership cards. Read a few of our most commonly asked questions below, and be sure to visit portlandartmuseum.org/faqs for a complete, detailed listing of questions and answers on timed entry, online ticketing, museum policies, and more!
FREQUENTLY ASKED QUESTIONS
Q: I want to visit the Museum to see Frida Kahlo, Diego Rivera, and Mexican Modernism. Do I need a special ticket? A: Yes—although there is no additional charge to view our special exhibitions, due to capacity restrictions guests will be admitted to this exhibition only with timed-entry tickets, which list a specific time for admittance.
Q: I am a member. Do I need to buy or reserve a timed-entry ticket for Frida Kahlo, Diego Rivera, and Mexican Modernism in advance? A: Members receive free timed-entry admission to this special exhibition; however, we highly recommend reserving your free timed-entry tickets in advance, as some time slots may sell out. Please note that Member tickets are nontransferable and memberships will be verified upon entry to the Museum.
Q: What is included in my timedentry ticket? Is a separate ticket required to see the rest of the Museum? A: Your timed-entry ticket for Frida Kahlo, Diego Rivera, and Mexican Modernism also includes access to the rest of the Museum for the entire day. There is no need to reserve or purchase an additional General Admission ticket.
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Q: I want to visit the Museum, but I do not want to view Frida Kahlo, Diego Rivera, and Mexican Modernism. Do I still need a timedentry ticket? A: No, but if you prefer to make your General Admission tickets reservation in advance, you can do so online. Otherwise, you can get your General Admission tickets at the Museum’s box office upon arrival. General admission tickets cover your visit for the entire day of your reservation.
Q: Can I purchase or reserve tickets by phone? A: We are currently unable to take ticket reservations by phone. Tickets will be available online at portlandartmuseum.org or in person at the Museum’s box office. Tickets for exhibitions are made available in advance of an exhibition opening; if you do not see the dates you would like to visit available for reservation yet, please check back in the coming weeks and watch your email inbox for announcements.
Q: How do I cancel or reschedule a ticket? A: Tickets can be canceled or rescheduled by Guest Services. To reach Guest Services, call the Museum’s main line at 503-226-2811, or visit our box office in person.
How to reserve your FREE timed-entry tickets as a member Online: After selecting the time and date of your visit, Sign in to our website with your email address and password in order to access your member discount. Be sure to choose the Member ticket type. The member discount will be applied after you’ve added ticket(s) to your shopping cart and proceeded to the checkout. Remember to print your e-ticket(s) to present at the Museum for entry. On site: Visit the Museum’s box office with your current membership card(s) and/or photo ID. Please note that as visitors will be admitted to Frida Kahlo, Diego Rivera, and Mexican Modernism only via timed-entry tickets, some time slots may already be sold out by the time of your visit. Advance reservations are recommended.
COVID-19 Safety In accordance with mandates from the State of Oregon, in order to protect our community and help slow the spread of COVID-19, masks are required for staff and visitors on campus, including in outdoor Museum spaces and Northwest Film Center spaces. For the most up-to-date information on our health and safety policies, visit portlandartmuseum.org.
EXHIBITIONS & INSTALLATIONS
FRIDA KAHLO DIEGO RIVERA and Mexican Modernism from the Jacques and Natasha Gelman Collection
FEBRUARY 19 – JUNE 5, 2022
Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection features the circle of artists who established an avant-garde cultural movement in the years following the Mexican Revolution. Art was an important tool for envisioning the past, reflecting the present, and shaping social values in the newly formed constitutional republic of Mexico.
Internationally beloved artists Frida Kahlo (1907–1954) and Diego Rivera (1886–1957) were at the center of a creative community devoted to visualizing a shared national identity. After the revolution, Mexico City became a vibrant cultural center that attracted international artists, intellectuals, political activists, and patrons of the arts. Among the foreigners flocking to Mexico were the film producer Jacques Gelman (1909–1986) and his
future wife, Natasha Zahalkaha (1912–1998), who emigrated from Eastern Europe before World War II. With the success of their film production company, the Gelmans were able to commission and collect works by the foremost modern artists in Mexico. The exhibition is drawn from their extensive collection. Kahlo, Rivera, and Mexican modernist artists embraced the political and populist movement of mexicanidad that blended agrarian and Indigenous traditions with the anti-colonialist sentiment that had fought for independence from Spain 100 years earlier. They experimented with style and imagery drawn from Indigenous and mestizo cultures while also taking part in the international movement of modernism—which stressed innovation in form, a tendency toward abstraction, and an emphasis on materials and process. Painters like Rivera, Gunther Gerzso, and Carlos Mérida turned to ancient artworks as models for abstraction and as inspiration for figurative realism. Others, like María Izquierdo and Rufino Tamayo, painted the lively abundance experienced in the city squares, the marketplaces, and other communal spaces where many gathered. Photographers Manuel and Lola Álvarez Bravo also experimented with form and technique while capturing the aspects of everyday life in rural and urban Mexico. As key members of the revolutionary movement, artists actively contributed to the creation of narratives linking the pre-Hispanic past to the founding of the new modern nation. Many depicted the land as a shared place of distinctive beauty, where people experienced a continuum of religious, cultural, social, and spiritual events dating to pre-Hispanic times. Likewise, picturing the traditions of home communicated a deep reverence for extended
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LEFT: Frida Kahlo (Mexican, 1907–1954), Self-Portrait with Monkeys, 1943. Oil on canvas. The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art and the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). © 2022 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ Artists Rights Society (ARS), New York. Photo by Gerardo Suter.
and Lola Álvarez Bravo captured fantastic visions that combined more than one view and more than one moment in time. In the 1930s the Cuban author Alejo Carpentier coined the phrase Lo real maravilloso, or the Marvelous Real, which describes experiences unique to Latin America and tied to the region’s layered history. As demonstrated throughout the exhibition, Mexican artists visually joined the ancestral to the present, the Indigenous to the colonial, and the imagined to the physical, in a modernism unique to their moment and their home.
familial relationships and the role of the home as a place that provides sustenance and nurtures community. By picturing traditional dress, furniture, and customs, artists shared the many characteristics of mexicanidad. Diego Rivera, along with David Alfaro Siqueiros and José Clemente Orozco, promoted an outward vision through murals, paintings, and prints. The newly established government commissioned “Los Tres Grandes” to create murals throughout Mexico City, where the trio addressed both heroic and tragic histories in monumental works intended to instill optimism and pride. By adopting this role, artists were considered intellectual workers who made revolutionary ideals visible. Their public commissions and widely disseminated prints became a prominent platform for communicating the formation of a national identity following the Mexican Revolution. Kahlo and Rivera were deeply engaged politically, joining the Mexican Communist Party in the 1920s to champion workers’ rights and the labor movement. Photographs in the exhibition document their activism and their international travel related to Rivera’s mural commissions in New York, Detroit, and San Francisco. While Rivera and the muralists captured the spirit of the people on a vast scale, Kahlo turned inward and represented TOP: Diego Rivera (Mexican, 1886–1957), Portrait of Natasha Gelman, 1943. Oil on canvas. The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art and the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). © 2022 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ Artists Rights Society (ARS), New York. Photo by Gerardo Suter;
mexicanidad through an exploration of her personal identity. The exhibition includes several of her famous self-portraits, intimately scaled drawings that reveal her political beliefs, and photographs that show the evolution of her style and self-presentation as a fiercely independent woman. Special sections of the exhibition are devoted to Kahlo’s biography. Visitors will learn about her life at her home, La Casa Azul; see examples of traditional clothing akin to her wardrobe; and observe the way she boldly depicted her disabilities and chronic illness as powerful elements in her art. Today we admire Kahlo as a revolutionary artist and a feminist, whose strength grew through adversity, including the lingering effects of childhood polio. In 1925, she experienced a traumatic bus accident that resulted in multiple injuries, shattering her pelvis and spine and leading to amputation of her leg. During her long convalescence, art became a path for survival and self-expression. While many link Mexican Modernist art to Surrealism, Kahlo and others roundly rejected the association. Kahlo once said, “I never paint dreams or nightmares. I paint my own reality.” As seen in many of the works in the exhibition, the reality of the Mexican modernist artists was perceived and presented in multiple ways. In their day, Kahlo and her peers María Izquierdo
Continuing the celebration and discussion of themes in the exhibition, the Museum is working with schools and community partners to make connections with Portland metro area Mexican and Latinx communities. Virtual public programs are also planned (see page 9). Exhibition texts, printed guides, and promotional material will be available in Spanish and English. PRESENTED BY The Harold & Arlene Schnitzer CARE Foundation/Jordan Schnitzer and the Laura and Roger Meier Family, with lead corporate support from Bank of America. MAJOR SUPPORT provided by Mr. and Mrs. Roger Burpee, Cooper and Sanda DuBois, Mr. and Mrs. William Whitsell, The Standard, and the National Endowment for the Arts. SPONSORS: Boeing Corp; Ed Cauduro Fund of the Oregon Community Foundation; Ferguson Wellman Capital Management, Inc.; Drs. Dolores and Fernando Leon; Oregon Arts Commission; Greg and Cathy Tibbles; Dan Wieden and Priscilla Bernard Wieden. SUPPORTERS: Stephanie Fowler and Irving Levin of The Renaissance Foundation; Rose E. Tucker Charitable Trust; Robert Trotman Interior Design; Wells Fargo Foundation. Organized by the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). Coordinated for Portland Art Museum by Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art.
FRIDA KAHLO AND DIEGO RIVERA Kahlo and Rivera met in 1927. United by their shared passion for art and radical politics, they married in 1929 and became the center of artistic and political circles in Mexico City. Photographs in the exhibition capture their loving and complicated relationship. Kahlo’s parents famously described the match as a “marriage between an elephant and a dove,” and they had an unconventional marriage: Kahlo and Rivera separated, divorced, and remarried and were not monogamous. Their partnership included artistic competition and interpersonal conflicts but also devoted companionship and shared interests such as their political activism and love of animals. Despite the volatility of their marriage, they had deep admiration for each other’s art.
Frida Kahlo grew up in the Coyoacán neighborhood of Mexico City. As a teenager, she sustained life-altering injuries in a terrible bus accident and turned to art during her convalescence. She became a painter of insightful portraits and narratives, basing her unique portrait style in part on the ex-voto tradition of religious painting. The daughter of a German father and a Mexican mother with Indigenous heritage, Kahlo embraced her mestizo background in her life and her art. She famously created an identity marked by strong independence, sexual liberation, and artistic freedom in the face of expectations of wifely duty and motherhood. Diego Rivera, born in Guanajuato in Central Mexico, was among the most celebrated artists of the day, best known for his murals in Mexico and the United States. As a young artist, Rivera traveled in 1910 to Paris, where he encountered Picasso and developed a cubist style. He returned to Mexico after the revolution and became one of the principal muralists charged with painting historical and allegorical scenes in public buildings.
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Kahlo pictured Rivera in such powerful selfportraits as Diego on My Mind (Self-Portrait as Tehuana). In this work Kahlo wears a headdress from Tehuantepec, which is in her mother’s home state of Oaxaca and known for its matriarchal social structure. The starched lace folds that encircle her face draw attention to the portrait of Diego etched on her forehead, suggesting the complexity of Kahlo’s and Rivera’s entangled lives. The coexistence of multiple layers of history and culture, a theme throughout Mexican modernism and this exhibition, points to how deeply Kahlo embraced the personal and political.
FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM Programs and Partnerships
MEXICAN MODERNISM VIRTUAL PROGRAMS Women Artists and the Construction of Mexicanidad
Frida, Fibromyalgia, and Feminism
School partnerships play a central role in the Museum’s educational mission. This year, we are thrilled to receive a grant from the Oregon Arts Commission to support in-depth, bilingual arts learning for sixth-grade students at the César Chávez School in North Portland. César Chávez is a Title 1 K-8 Portland Public School that serves a culturally and economically diverse community, including a student population that is majority Latinx. It is one of eight PPS schools to offer a Spanish Dual Language Immersion program at the middle-school level.
WITH ALBERTO MCKELLIGAN
VANESSA SEVERO
HERNÁNDEZ, PH.D., ASSISTANT
MARCH 6, 2–3:30 P.M.
The Museum’s Learning and Community Partnerships staff is collaborating with César Chávez teachers and the artist Patricia Vázquez Gómez to design a bilingual program that combines field trips to the Mexican Modernism exhibition with art-making workshops at the school. The program will intersect with the school’s language arts and social sciences curriculum, introducing students both to the work of Frida Kahlo and Diego Rivera and to the wider cultural context of 20th-century Mexico. In addition, PAM staff are collaborating with Studio Latino, the Latino Network’s arts and culture after-school program, to welcome young students to workshops in the exhibition every month this spring. School programs will be complemented by a range of community and artist partnerships, including the live creation of large-scale, mural-like paintings in the Museum’s Schnitzer Sculpture Court. This series of site-specific projects will be helmed by Portland-based artist Hector Hernandez as well as the artist collective IDEAL PDX, led by Jessica Lagunas and William Hernandez. More information will be coming soon on these and other community partnerships.
Visit portlandartmuseum.org to register for programs and learn more.
PROFESSOR OF ART HISTORY AT PORTLAND STATE UNIVERSITY FEBRUARY 27, 2–3:30 P.M.
Frida Kahlo, Diego Rivera, and Mexican Modernism provides an exciting opportunity for Portland audiences to explore the ways in which women artists contributed to the immense cultural transformations of early20th-century Mexico. After the violent battles of the Mexican Revolution (1910–1920), the country was eager to define a new form of national identity, a complex process later described as the construction of mexicanidad, or Mexicanness. Join Alberto McKelligan Hernández in this virtual opening lecture for a look into the groundbreaking contributions of women artists that reveal how women navigated the social and artistic context of postrevolutionary Mexico and the complexities and contradictions associated with the construction of mexicanidad. Learn more in a special Portal essay by Dr. McKelligan Hernández on page 18.
WITH DR. GINEVRA LIPTAN AND
This virtual program brings Dr. Ginevra Liptan and Vanessa Severo into conversation around the impact Kahlo’s disabilities had on her art, how her art impacted her experience as a Disabled individual, and how she changed cultural norms around disability and chronic illness. Dr. Ginevra Liptan is a physician, author, and founder of the Frida Center for Fibromyalgia. Vanessa Severo is an actor, writer, choreographer, and director who recently performed Frida...a Self Portrait at Portland Center Stage.
Alberto McKelligan Hernández completed his Ph.D. from the Graduate Center of the City University of New York (CUNY). His research received the Carolyn G. Heilbrun Dissertation Prize from CUNY’s Center for the Study of Women and Society. He also curated Mónica Mayer: Translocal Translations, 1978-2018 for Paragon Gallery in Portland, and his research on feminist art in Mexico has been published in Nierika: Revista de Estudios de Arte and the Journal of International Women’s Studies.
TOP LEFT: Martin Munkacsi, Frida and Diego, 1934, Gelatin silver print ; LEFT: Frida Kahlo (Mexican, 1907–1954), Diego on My Mind (Self-Portrait as Tehuana), 1943. Oil on Masonite; 29.9 × 24 in (76 × 61 cm). The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art and the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). © 2022 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ Artists Rights Society (ARS), New York. Photo by Gerardo Suter; RIGHT: Frida Kahlo, Masks (Carma I), 1946, Oil on canvas, 21.6 x 27 cm (8.5” x 10.6”).
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CONTINUING Learn more about these exhibitions and programs at portlandartmuseum.org.
AUX/MUTE GALLERY Presented by The Numberz FM THROUGH JUNE 2022
This spring will see more exciting art activations in our AUX/MUTE Gallery curated and programmed in partnership with The Numberz FM.
APEX: SHARITA TOWNE AND A BLACK ART ECOLOGY OF PORTLAND ON VIEW THROUGH JUNE 2022
The Museum’s showcase of artist Sharita Towne’s community project “A Black Art Ecology of Portland” (BAEP) continues this spring and early summer, with new video and sculpture elements illuminating the power, depth, and resiliency of Black art in our city. This powerful, poetic exhibition reflects the transdisciplinary artist and educator’s practice steeped in the work of collaboration, cultural organizing, and arts infrastructure building. Sharita Towne and A Black Art of Portland provides a glimpse into Towne’s burgeoning BAEP project, an initiative she launched in 2019 to bring together community organizations in support of creating, reclaiming, and redefining spaces for Black art and audiences in Portland.
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This spring, visitors will see several new installations reflecting Towne’s ongoing community project, including fresh rotations of Riso prints and video art. Organized by the Portland Art Museum and curated by Grace Kook-Anderson, The Arlene and Harold Schnitzer Curator of Northwest Art. Supported by The Arlene and Harold Schnitzer Endowments for Northwest Art, The Ford Family Foundation, the Oregon Community Foundation, and Exhibition Series Sponsors.
Lauded by Essence magazine as a nationwide must-see, Portland artist Jason Hill’s exhibition In My Skin displays its stunning photographic portraiture through February 27. “This body of work celebrates Black cultural identity, African ancestry, and the contemporary lived experience of the community in Portland,” writes Hill. Opening March 12, Portland conceptual artist Christine Miller’s exhibition Syrup on Watermelon reframes narratives of American culture created against African American people. Miller’s installation uses products as a vehicle to address the digestion and consumption of Black people, with an emphasis on Black women. “Appropriation is not admiration, and exploitation is not love,” writes Miller. “Syrup on Watermelon aims to hold up mirrors to false imposed identities and challenges the audience to look at the unsettling nature of these narratives.” Later in the spring, a group show will feature art in the growing collection of The Numberz FM. Visit portlandartmuseum.org for updates, special programs, and more.
MESH THROUGH MAY 8, 2022
THE NUMZ BODEGA Within the AUX/MUTE Gallery in partnership with The Numberz FM, The Numz Bodega is an authentic shopping exhibition honoring the cultural impact and history of the bodega, a neighborhood staple in underrepresented communities across the country. The Bodega’s mission is to highlight visual artists through the design of the shop itself, creating a unique retail experience that will be a home to products from local emerging artists. Open Wednesdays through Sundays from noon to 5 pm, the Bodega includes works from The Nine Brand, Mister OK’s Essentials, Zero8one5, and more. “In under-resourced communities of color, bodegas are essential,” said DJ Ambush, general manager of The Numberz FM. “The residents’ quality of life depends greatly on what those corner stores have in stock—the bodegas often become the centers of these communities.
Mesh features the bold work of four emerging and early-career artists whose multidisciplinary work touches on current social issues, including the ongoing fight against racial injustice and conflicts over Indigenous land rights. At the same time, through photography, painting, and mixed media, the artists celebrate the ongoing presence of Native American art and culture and remind us that art is an essential form of activism. Kaila Farrell-Smith is a Klamath Modoc artist from Chiloquin, Oregon, whose selection from her recent, vibrant painting series Land Back draws from the aesthetics of graffiti as well as petroglyphs, using text and imagery as urgent messengers of warning and resistance. Embedded in the use of the customary Native Hawaiian practice of using ohe kāpala (carved bamboo printing tools), kapa (bark cloth), and natural pigments, Lehuauakea (Kanaka Maoli), a mixed-media artist from Portland and Hawaii, creates delicate yet powerful works that address
racism and protest. The luminous photography of Leah Rose Kolakowski, a member of the Keweenaw Bay Ojibwa living in Santa Fe, New Mexico, channels strength, beauty, and cultural resilience in the face of cultural and existential threats. Painter Lynnette Haozous, a Chiricahua Apache artist and member of the San Carlos Apache Tribe with Diné and Taos Pueblo ancestry, has installed a temporary 20-foot mural titled Into the Sun, affirming the presence and power of Native women. Together this dynamic art, which meshes together tradition and contemporary culture, ancient techniques, and modern materials, presents a powerful statement about the next generation of Native artists. This Center for Contemporary Native Art exhibition is presented in the Museum’s Jubitz Center for Modern and Contemporary Art. Curated by Kathleen Ash-Milby, Curator of Native American Art. Supported in part by Native Arts & Cultures Foundation and the Museum’s Native American Art Council.
“The Numz Bodega allows visitors to peek into the future of the art world, to engage with those artists and hopefully find a piece that speaks to them in a way that they didn’t know they needed,” he continued. “Something that they just can’t leave without. Something that keeps them coming back for more. Something that improves their quality of life.” The Numberz FM’s Community Partner-inResidence programs are supported in part by the Oregon Cultural Trust, the Regional Arts and Culture Council, the Portland Art Museum’s Artist Fund, and The Arlene and Harold Schnitzer Endowments for Northwest Art.
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RECENT ACQUISITIONS Thanks to the generosity of our supporters, the Portland Art Museum continues to expand its collections and visitor experiences with outstanding artwork representing diverse artists, practices, and time periods. Here are some recent highlights. Shan Goshorn (American and Cherokee, 1957–2018), Chief Antoine Moise, 2015, Arches watercolor paper, pigment ink, acrylic; 4.5 x 4 x 4 in. Gift of Charles Froelick, 2021.1.2. Photo by Mario Gallucci, courtesy of Froelick Gallery and Shan Goshorn Estate. Derrick Adams (American, born 1970), Boy on Swan Float, 2020, woodblock and screen print with fabric collage on Rives BFK paper, image/sheet: 31 x 45 in, Museum Purchase: Funds provided by Greg and Cathy Tibbles, 2020.40.1 © Derrick Adams. Derrick Adams is a multidisciplinary artist who employs painting, collage, printmaking, sculpture, and video. Adams brings a deconstructivist philosophy married with a pop sensibility to investigate the African American experience. Boy on Swan Float is part of a larger project in which Adams investigated American leisure. As Adams has stated, his Floater series (which includes both paintings and prints) posits that “respite itself is a political act when embraced by Black communities.” —Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings
George Johanson (American, born 1928), Mirrored Porch, 1984, oil on canvas, 48 x 96 inches. Gift of Van Le and Aaron Johanson, 2020.48.1.
Shan Goshorn (1957–2018) was an American artist and citizen of the Cherokee Nation who was best known for her integration of traditional Cherokee basketry techniques with photography. Although she began her practice as a commercial photographer, her work evolved to include deeply personal and cultural subjects, including repatriation, and handpainted portraits. This work was created at the height of her career when she began using the basketry format, especially the rare Cherokee double-weave technique, for which she is best known. —Kathleen Ash-Milby, Curator of Native American Art
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A highlight of our 2020 exhibition Volcano! Mount St. Helens in Art, Mirrored Porch is one of George Johanson’s most impressive large-scale figural works. In this dreamlike scene, Mount St. Helens erupts in a blaze of hot color in the background as oblivious figures sunbathe and play on the porch. Johanson stated, “In Mirrored Porch, the volcano is a big event, but not solely a threatening one. It is also something of a celebration, like fireworks on the Fourth of July. So, in this painting it becomes both menacing and a visual feast.” —Dawson Carr, Ph.D., who retired in 2021 as Janet and Richard Geary Curator of European Art
Deborah Roberts (American, born 1962), Stinney (Nessun Dorma Series), 2019, mixedmedia collage on paper, 60 x 40 in. Gift of Sarah Miller Meigs, © Deborah Roberts, 2020.32.1 Deborah Roberts’ subject is George Junius Stinney, Jr. (1929–1944), who was falsely accused and convicted of murdering two white girls in 1944. He was executed by electrocution at the age of 14. In 2014, Stinney was exonerated after a judge determined that he was denied due process. Roberts appropriates the historical booking photograph taken at Stinney’s arrest and isolates his face, doubling the probing expression of his eyes. —Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art Jonathan Calm (American, born 1971), Double Vision (Record), 2018, pigment print, Museum purchase: Photography Fund, 2020.25.2 © Jonathan Calm; image courtesy of Rena Bransten Gallery. In this nearly life-sized photograph, Jonathan Calm is in the act of creating an image of the California coastline, a location long favored by revered landscape photography masters like Ansel Adams and Edward Weston. Typically, Calm’s skin color would not be visible to passersby. Calm’s pointed inclusion of his unclothed body asks us to question our assumptions about who is most welcome in the world of landscape photography, who has easy access to the landscape, and who is free to move through nature with little or no resistance. —Julia Dolan, Ph.D., The Minor White Curator of Photography
Tawaraya Sōtatsu (Japanese, died 1643), Chao Fu, first half of 17th century, hanging scroll; ink on paper, painting: 40 1/8 x 21 1/16 in; mounting: 75 1/8 x 28 5/8 in, Gift of Mary and Cheney Cowles, 2020.30.4. Tawaraya Sōtatsu was one of the most influential early modern Japanese painters, whose mastery of pattern and color helped define the Rinpa style of painting. The subject deals with Confucian paragons of Chinese legend, the hermits Xu You and Chao Fu. Despite the serious theme, the brushwork, roundness of the ox’s contours, and decorative aesthetic of the painting is entirely Rinpa— and the net effect is a lyrical ink painting that showcases other aspects of Sōtatsu’s talent. —Jeannie Kenmotsu, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art
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SUMMER 2022 CONSTRUCTING REVOLUTION Soviet Propaganda Posters from between the World Wars JULY 2 – OCTOBER 9, 2022
Constructing Revolution explores a remarkable and wide-ranging body of propaganda posters as an artistic consequence of the 1917 Russian Revolution. This vibrant exhibition delves into a relatively short-lived era of unprecedented experimentation and utopian idealism, which produced some of the most iconic images in the history of graphic design. Bringing more than 100 Soviet-era posters from the private collection of Svetlana and Eric Silverman, Constructing Revolution showcases a number of key figures in the Soviet artistic avant-garde, among them Vladimir Mayakovsky, Aleksandr Rodchenko, and Gustav Klutsis. Organized by the Bowdoin College Museum of Art. Supported by Exhibition Series Sponsors.
FALL 2022 DAKOTA MODERN The Art of Oscar Howe NOVEMBER 5, 2022 – MAY 14, 2023
Dakota Modern: The Art of Oscar Howe introduces new generations to one of the 20th century’s most innovative Native American painters. Oscar Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. Through his inventive, abstract approach to painting, Howe proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction. His legacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.
In dialogue with Dakota Modern, the Museum will present a multimedia, site-specific installation by Jeffrey Gibson, a Choctaw artist known for his expansive, dynamic abstraction. They Came from Fire will incorporate glass, text, and photography. Organized by the Smithsonian’s National Museum of the American Indian and the Portland Art Museum. Curated by Kathleen Ash-Milby, Curator of Native American Art at PAM. Major support provided by The Henry Luce Foundation. Additional support provided by the Wyeth Foundation for American Art. Support for the Portland Art Museum installation provided by the Institute for Museum and Library Services, grant MA-249741-OMS-21. ABOVE: Vera Gitsevich, Russian (1897 - 1976), For the Proletarian Park of Culture and Leisure, 1932, Lithograph on paper, 40 1/2 x 27 1/2 in. (102.87 x 69.85 cm), Collection of Svetlana and Eric Silverman; MIDDLE: Oscar Howe, Umine Dance (detail), 1958. Casein and gouache on paper, mounted to board, 18 x 22 in., Garth Greenan Gallery, New York. ; RIGHT: Shedrich Williames (American, born 1934), Untitled, 1972, gelatin silver print, image: 13 3/16 x 10 3/8 in; sheet: 14 x 10 15/16 in, Gift of Al Monner, © Shedrich Williames, 94.36.1.
Dakota Modern will be on view March 12 – September 11, 2022, at the National Museum of the American Indian in New York City before traveling to the Portland Art Museum.
SUMMER 2023 BLACK ARTISTS OF OREGON Black Artists of Oregon, highlighting and celebrating the work of Black artists in and outside of the Museum’s collection, will serve to deepen awareness of the talented artists who have shaped and inspired artists regionally and nationally. The exhibition will be the first of its kind to consider the work of Black artists collectively in Oregon, often underrepresented and unacknowledged. Spanning the 1920s through today, the exhibition captures the African American experience particular to the Pacific Northwest. Artists in the exhibition will include Al Goldsby, Thelma Johnson Streat, Isaka Shamsud-Din, Ralph Chessé, Arvie Smith, Shedrich Williames, Harrison Branch, Robert Colescott, Adriene Cruz, Charlotte Lewis, and Carrie Mae Weems. This exhibition will be guest curated by artist Intisar Abioto. In Abioto’s own artistic practice, she has been documenting Black figures in Portland since 2013, through interviews, photography, research, and performance, filling the region’s own historical gaps. The Museum’s Re:Imagine Artist Fund provided seed funding to Intisar Abioto for her research and planning. Lead support provided by the Terra Foundation for American Art.
NEWS & NOTEWORTHY
KEEPING CONNECTED: YEAR IN REVIEW Pandemic life continued to influence the Museum and Northwest Film Center’s fiscal year ending June 30, 2021. A great deal of effort, enthusiasm, and engagement over these past two years has allowed the Museum and Film Center to stay connected with the community and with art. Members have played a vital role in supporting the many ways that the Museum and Film Center have continued to be a source of art, inspiration, and connection throughout these pandemic times.
traditional offerings. Partnering with The Numberz FM and the City of Portland, the Park Block in front of the Museum was activated as a neighborhood gathering place, offering music, art, community, and even vaccine clinics.
By the Numbers Exhibitions and Programs Faced with growing uncertainty in the early days of the pandemic, the Museum worked with exhibition partners and lenders across the globe to extend or postpone more than 15 exhibitions ranging from single-artist projects to blockbuster exhibitions. When restrictions finally lifted, visitors were thrilled to experience Ansel Adams in Our Time. The familiarity of his work paired with different perspectives was exactly what was needed to reconnect with each other. The Museum and Film Center also took advantage of typically mild Portland weather to offer experiences outside, including projection mapping exhibitions in partnership with the Mobile Projection Unit, and reenergizing the Drive-In format by presenting the Cinema Unbound Awards outside, along with more
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10 exhibitions 60 streaming feature films and 40 shorts 52 outdoor drive-in feature films and
5 shorts
programs and classes
30 Northwest Film Center virtual 48 virtual programs and podcasts 8 in-person programs and pop-ups
Partnerships, Youth, and Educators Community partnerships, along with youth and educator programs, have continued to thrive amid the challenges presented by the pandemic and the continued uncertainty. As previously reported in this magazine and in other channels, The Numberz FM is making an even greater impact on this institution and in our community than when the local Black radio station first took up residence, broadcasting from the galleries. After a summer of programming and activating the pop-up Madison Street Plaza, The Numberz FM team launched the AUX/ MUTE Gallery on the fourth floor of the Main Building. The Gallery is an inclusive endeavor that invites more BIPOC practicing artists to have their work exhibited in the museum. With students back in the classroom and yet resources still stretched thin for many schools, the Museum continues to partner and collaborate with educators to ensure that access to art and exhibitions remains possible.
Youth and Educator Program Highlights
Finance and Fundraising
The Poster Project—A set of posters that are created each year featuring works across the permanent collections, available free of charge to educators in Oregon and Washington. Funded by PGE Foundation.
During the fiscal year ending June 30, 2021, the Museum’s finances were again dominated by the global pandemic. During the last period of state-imposed closure, the Museum was successful in securing a second round of Paycheck Protection Program (PPP) funding that again made it possible to pay staff who were not working for a further two months. Once restrictions were lifted, attendance steadily increased and staff were brought back to work.
Educator Unconference: Memory and Public Space—An exploration of questions around how we use public space to remember.
See Me. iAm. HEAR: A Creative Activation of Youth Voices of Color—A collaboration with the City of Portland’s “Supporting Community Healing with Art’’ initiative and other partners that transformed the Madison Street Pop-up Plaza into a vibrant creative space activated by and for youth. Featured partners included: The Numberz FM, I AM M.O.R.E., IPRC, and NAYA Many Nations Academy. Postcards to Earth: PPS HeART of Portland Exhibition and Showcase 2021—The Museum celebrated the work of Portland Public Schools students and teachers with an Ansel Adamsinspired installation in the Museum gift store windows.
Out of the three fiscal years that have been impacted by COVID-19, the Museum will have been closed for nine of those 36 months, and operating with significant capacity restrictions for another 12 months—leaving just 15 months out of three years when the Museum and Film Center could operate normally. The financial impact of this is calculated to be a loss of earned income of approximately $9 million over the three years. Government relief programs will make up $7.7 million of this— leaving a shortfall of $1.3 million to be covered by reserves. Because of this support, and diligent focus on managing expenses, the Museum ended the year with a positive cash position.
Fundraising Highlights Museum and Film Center supporters stepped up in a big way over these past 24 months. Highlights of this support include: Sixty-six percent of all gifts were given without restrictions, which allowed flexibility to adapt and provide programs and exhibitions in new ways while also supporting the arts ecosystem, with initiatives like the Artist Fund. Donors and members gave at all levels, and last fiscal year, more gifts were received by more donors from more parts of the community than ever. The Museum and Film Center received significant relief funding this past year from the state and federal government, preventing drastic cuts to staff and programs during closure, and providing for a smooth reopening. Significant support came from the Cultural Advocacy Coalition of Oregon, Institute of Museum and Library Services, Oregon Arts Commission, Oregon Cultural Trust, Small Business Administration, and Regional Arts & Culture Council.
Equity Update The past year has seen the Museum and Film Center continue to move racial equity work forward. From exhibitions to programs and partnerships, welcoming conversations about equity and racial justice issues and uplifting the BIPOC community remain priorities. Knowing that COVID-19 continues to have a disproportionate impact on our communities of color, it was an honor to be able to share a message of resistance and hope from renowned artist, Portland native, and Museum board member Carrie Mae Weems through her Resist COVID/Take 6! public art program. Beyond what is visible to the public, the Museum actively reassesses internal policies, creates new initiatives and learning opportunities, and strives to support BIPOC staff.
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WOMEN ARTISTS AND THE CONSTRUCTION OF MEXICANIDAD BY ALBERTO MCKELLIGAN HERNÁNDEZ
described as the construction of mexicanidad, or Mexicanness. The monumental public murals created by artists such as Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—collectively known as los tres grandes, or the three great ones—exemplified the ways in which Mexican visual artists attempted to commemorate the revolution and solidify mexicanidad. While the imagery of los tres grandes repeatedly celebrated the heroic achievements of the male caudillos, the leaders of the revolutionary armies, the Mexican Revolution was also transformative for Mexican women. During the long years of the armed struggle, the popular ballads known as corridos repeatedly detailed the bravery of the soldaderas, the women soldiers of the revolutionary armies. Moreover, in the midst of the revolution, women activists came together in the First National Feminist Congress of 1916; congress delegates emphasized the legal, social, and educational changes that were necessary to create a more egalitarian society. Still, these earnest attempts to expand women’s social roles faced numerous challenges. Despite the postrevolutionary fervor of the time, institutions such as the Catholic Church and Mexico’s entrepreneurial class intended for women’s social roles to remain unchanged, largely confining women to the domestic sphere. Infamously, the Constitution of 1917—which
Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection provides an exciting opportunity for Portland audiences to explore the ways in which women artists contributed
to the immense cultural transformations of early 20th-century Mexico. After the violent battles of the Mexican Revolution (1910–1920), the country was eager to define a new form of national identity, a complex process later
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ABOVE: Maria Izquierdo, Bride from Papantla , 1944, oil on canvas, 125 x 100 cm (49.2” x 38.4”).
On a different note, Álvarez Bravo focused her attention on the country’s rural and indigenous populations, showcasing the diverse cultural practices that were part of the nation’s heritage. In Burial at Yalalag (1946), the artist presented a somber funerary procession; while the photograph documents both the unique landscape of the southern state of Oaxaca as well as the region’s traditional attire, Álvarez Bravo also conferred a sense of dignity and reverence to her photographed subjects. Moreover, the artist complemented these images of Mexico’s rural expanses with experimental photographic montages, illustrating the chaotic urbanization of Mexico City or women’s enrollment in the new educational institutions of postrevolutionary Mexico. symbolically represented the ideals of the Mexican Revolution—did not grant women the right to vote. The works produced by Frida Kahlo, María Izquierdo, and Lola Álvarez Bravo thus serve as important examples of the complex ways in which women artists navigated the postrevolutionary era. The innovative imagery developed by these artists showcases the ways in which the heroic achievements of the caudillos were only one part of mexicanidad. Each of these artists thus actively contributed to the development of modern art in Mexico, even
as they questioned and challenged women’s social roles in the aftermath of the revolution. Certainly, Kahlo’s numerous self-portraits imaginatively represented the visceral personal experiences of her life, including her relationship with Rivera. However, Kahlo’s paintings also showcased her ability to adapt and transform the tenets of Surrealism to her advantage, producing unsettling imagery that ominously considered women’s experiences and subjectivities. The Bride Who Becomes Frightened When She Sees Life Opened (1943) thus exemplified the artist’s ability to visualize a different form of mexicanidad, employing traditional Mexican fruits to create a vaguely threatening landscape for the small bride illustrated within the painting. Similarly, Izquierdo produced several works that explored the accoutrements associated with traditional femininity in Mexico. In Bride from Papantla (1944), the artist presented a discomforting image of a woman wearing her ornate bridal attire; the bride’s stoic demeanor sharply differed from the unfettered natural world surrounding her. While the image may have related to the artist’s lived experiences, the work also served as a commentary on the ways in which Mexican society continued to uphold certain forms of femininity as a normative ideal.
In short, the groundbreaking contributions of these artists reveal how women navigated the social and artistic context of post-revolutionary Mexico; exhibition visitors can thus explore the complexities and contradictions associated with the construction of mexicanidad. Alberto McKelligan Hernández, Ph.D., is Assistant Professor of Art History at Portland State University. His research includes modern and contemporary art from Latin America, particularly Mexico, as well as the development of feminist art in different geographic contexts. Dr. McKelligan Hernández will present the exhibition opening lecture, “Women Artists and the Construction of Mexicanidad,” on February 27 (see page 9).
Further Reading Alejandro Anreus, Leonard Folgarait, and Robin Adèle Greeley, eds., Mexican Muralism: A Critical History, 2012. Nancy Deffebach, María Izquierdo and Frida Kahlo: Challenging Visions in Modern Mexican Art, 2015. James Oles, ed., Lola Álvarez Bravo and the Photography of an Era, 2012.
LEFT: Frida Kahlo, (Mexican, 1907–1954), The Bride who Becomes Frightened when She Sees Life Opened, 1943. Oil on canvas; 24.8 × 32.1 in. (63 × 81.5 cm). The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art and the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). © 2022 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ Artists Rights Society (ARS), New York. Photo by Gerardo Suter; ABOVE: Lola Álvarez Bravo (Mexican, 1903–1993), Burial at Yalalag (Oaxaca, Mex), 1946. Gelatin silver print; 7.5 × 9 in (19.1 × 22.9 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.
ONGOING, VIRTUAL, AND POP-UP PROGRAMS Beginning in January, we will reintroduce our popular “Slow Looking” tours and offer these virtual docent-led experiences three times each month. Studies have shown that visitors spend about eight seconds looking at individual works on display at galleries or museums. By slowing down we have an opportunity to really get to know an artwork and engage more deeply with it. Each 45-minute interactive session will highlight just one or two artworks and include looking, wondering, and group conversation about what we are noticing together. We invite you to join us!
ARNOLD AND AUGUSTA NEWMAN FOUNDATION ENDOWS PHOTOGRAPHY LECTURE SERIES Since 2013, the Arnold and Augusta Newman Foundation has supported the Museum’s Arnold Newman Distinguished Lecturer in Photography series, which welcomes noted photographers and historians of photography to Portland to engage with local communities through public lectures and small-group, student-focused programming. The Newman Foundation has transformed its renewable grant, originally a five-year program, into a permanent, endowed program that will ensure the continuation of the lecture series long into the future. The Museum’s first Newman Distinguished Lecturer, Carrie Mae Weems, was born in Portland and currently serves on the Museum’s Board of Trustees. Subsequent lecturers have included Richard Mosse, Emmet Gowin, Zun Lee, Dawoud Bey, Fazal Sheikh, Hank Willis Thomas, and Kimberly Drew. In 2021, due to the pandemic, Rebecca Senf and Catherine Opie delivered their lectures virtually.
These virtual sessions will take place on Zoom at noon on the first Thursday and third Tuesday of every month. A weekend tour will take place on the last Saturday of each month at 1 p.m. “Slow Looking” tours are replacing the bimonthly Artful Meditation tours. There’s always something new to enjoy at the Museum and Film Center. For the latest on virtual programs, pop-up happenings, and ongoing offerings, subscribe to our email newsletter and check our online calendar at portlandartmuseum.org.
The Foundation supports lectures and scholarships at institutions including the National Gallery of Art in Washington, DC.; the Philadelphia Museum of Art; the Minneapolis Institute of Arts; and the International Center of Photography, among others. Recently, the Newman Foundation established a photography exhibition, lecture, and purchase endowment at the Oregon Jewish Museum and Center for Holocaust Education in Portland. We are grateful to Arnold and Augusta Newman’s sons, David and Eric, for their family’s generosity and their longterm gifts to the city.
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TOP LEFT: Arnold and Augusta Newman, 1949.; ABOVE: An example from a past Artful Meditation tour—India, Tamil Nadu (Indian), Shiva Natarāja (Shiva as Lord of the Dance), 12th century or later, copper alloy, 36 1/2 x 29 1/4 in x 15 1/2 in, Museum Purchase: Helen Thurston Ayer Fund. Portland Art Museum, Portland, Oregon, 56.12
NORTHWEST FILM CENTER
CINEMA UNBOUND AT THE NORTHWEST FILM CENTER This year, the Northwest Film Center became more than just a place to see a great movie or take an innovative class. We are in a moment where new media is no longer new, the internet is both everywhere and nowhere, virtual reality is gaining traction, and the boundaries between traditional and emerging media are increasingly in flux. We find ourselves somewhere between the old normal and a post-COVID world, pivoting between digital, physical, and hybrid spaces. We are unbound—and find ourselves in a position to become the change we want to see as we leap forward into an unknown tomorrow. One thing we do know is that Northwest Film Center is coming into 2022 with a plethora of exciting endeavors to re-engage the community and bring new frontiers from the multimedia world to Portland’s front door. Our offerings range from VR to Go, where you can check out your very own precurated VR headset and try it out in the comfort of your home, to our co-presentation of “live” documentary with Sam Green & Kronos Quartet, and of course, our 3rd Annual Cinema Unbound Awards, celebrating artists working at the intersection of art and cinema who are not content to be contained. —Amy Dotson, Director of the Northwest Film Center and Curator, Film & New Media
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MARCH 8, 2022 Date and format may change in accordance with public health conditions. Please visit nwfilm.org/cinema-unbound-awards for updates. Beginning in 2020, we assembled of a mighty band of internationally renowned artists, creatives, and curators working somewhere in the middle of the Venn diagram of cinema and unboundedness. It is an award that celebrates those who strive to think bigger, try new things, and push forward to transform the field and the world. Some of the honorees have ties to Portland and some are just passing through. But all of them inspire and are leading us into new ways of seeing. The Awards honor storytellers who use their creative vision to expand the reach of cinema as an art form to challenge for whom, by whom, and how stories can be told. Past honorees have included Steve McQueen, Garrett Bradley, Gus Van Sant, Todd Haynes, John Cameron Mitchell, and MoMA’s Rajendra Roy, and presenters have included Academy Award Best Picture winners Bong Joon-ho (Parasite), Guillermo del Toro (The Shape of Water) and Chloe Zhao (Nomadland), as well as Alessandro Michele (Creative Director, Gucci) and performer Justin Vivian Bond.
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Join us for an unbound night of entertainment and inspiration at the 3rd Annual Cinema Unbound Awards, a benefit for the Northwest Film Center. $250 Individual Ticket $2,500 Table (10 tickets) RSVP BY MARCH 1, 2022
Reserve online at pam.to/awards Learn more at nwfilm.org/cinema-unbound-awards
This year’s honorees include: CARRIE BROWNSTEIN
Carrie Brownstein is a writer, director, and musician. She is a founding member of the critically acclaimed rock band SleaterKinney and author of the New York Times bestseller Hunger Makes Me a Modern Girl. She, along with Fred Armisen, was the cocreator and co-star of the sketch-comedy series Portlandia. The show aired for eight seasons, winning both a Peabody and a WGA Award. Brownstein’s work on the show garnered her eight Primetime Emmy nominations in the categories of Outstanding Variety Sketch Series, Outstanding Writing for a Variety Series, and Outstanding Directing for a Variety Series. Brownstein has directed television shows for HBO, NBC, Comedy Central, and Hulu. Brownstein most recently co-stars alongside Annie Clark (St. Vincent) in the mockumentary film The Nowhere Inn, which premiered in theaters and VOD in September 2021.
ARTHUR LEWIS
Arthur Lewis is a Partner and Creative Director of Fine Arts and the UTA Artist Space at leading global talent, entertainment, and sports company UTA. A patron of the arts and a significant collector of both work by emerging artists and contemporary African American art, Lewis—who is a member of the board of governors of Otis College Art and Design, on the board of Prospect New Orleans, a member of the National Advisory Committee for The New Orleans African American Museum, and a Global Council member at The Studio Museum of Harlem—is a well-known and distinguished figure in the art world.
© Carrie Brownstein; Arthur Lewis photo credit © Ellian Raffoul Photography; Shirin Neshat photo credit © Rodolfo Martinez; Roger Ross Williams photo credit © Justin Bettman; Reinaldo Marcus Green photo credit © Chiabella James.
SHIRIN NESHAT
Shirin Neshat is an iconic contemporary Iranian visual artist, best known for her work in photography, video, and film, which explores the relationship between women and the religious and cultural value systems of Islam. Her latest comedy feature film, Land of Dreams, featuring Isabella Rossellini, will be released in 2022.
ROGER ROSS WILLIAMS
Roger Ross Williams is an award-winning director, producer, and writer and the first African American director to win an Academy Award. He has directed a number of acclaimed films including Life, Animated, which won the Sundance Film Festival Directing Award, among dozens of film festival awards and was nominated for an Academy Award® and won three Emmys in 2018, including the award for Best Documentary. He also directed God Loves Uganda, which was shortlisted for an Academy Award ® and American Jail, which examined the U.S. prison system and premiered on CNN. Williams’ Traveling While Black, a VR documentary made for Facebook’s Oculus, premiered at Sundance Film Festival, was nominated for a Primetime Emmy and won a Webby Award. His film The Apollo, a documentary about Harlem’s legendary Apollo Theater, was the opening night film of the 2019 Tribeca Film Festival and won the Primetime Emmy, for Outstanding Documentary. He recently directed three hours of The Innocence Files, which premiered on Netflix in its top 10. Williams is currently set to direct and produce (under his One Story Up banner) Ibram X. Kendi’s Stamped From the Beginning, as well as its counterpart Stamped: Racism, Anti Racism, and You, which will be aimed at the YA audience.
REINALDO MARCUS GREEN
Reinaldo Marcus Green is a writer, director, and producer. He most recently directed the critically acclaimed Warner Brothers film King Richard starring Will Smith. The film is nominated for Best Picture at the Critics Choice Awards and was named one of the Top 10 Films of the Year by both AFI and the National Board of Review. His first feature, Monsters and Men, had its world premiere at the 2018 Sundance Film Festival. The film received a Special Jury Prize for Outstanding First Feature. Reinaldo directed the first three episodes of the Netflix series Top Boy, executive produced by Drake and SpringHill Entertainment. His sophomore feature Joe Bell, starring Mark Wahlberg, premiered at TIFF 2020 and was distributed by Amazon and Roadside Attractions. He is currently in postproduction on the upcoming HBO Limited Series We Own This City. Reinaldo directed all of the episodes of the series, written and executive produced by David Simon and George Pelecanos. Following, Reinaldo is attached to write and direct the upcoming Bob Marley biopic at Paramount.
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CO-LABORATORY
Spring will see the continuation of the Northwest Film Center’s Co:Laboratory education program with workshops engaging youth in March for spring break, such as our popular “It’s Alive: Puppet Making and Stop Motion for Kids.” For adults, documentary filmmaker Donal Mosher returns with his exciting audio storytelling workshop. We will also have a workshop on Witches in Film from guest instructor Meredith Graves, along with instructional videos on the basics of VR, NFTs and other future-frontier topics.
VR TO GO
KRONOS QUARTET & SAM GREEN: A THOUSAND THOUGHTS FEBRUARY 15
Kridel Grand Ballroom Partnering with Friends of Chamber Music, the Kronos Quartet is coming to the Portland Art Museum’s Grand Ballroom in February! A Thousand Thoughts is a live documentary experience with and about the groundbreaking Kronos Quartet, written and directed by Sam Green (The Weather Underground) and Joe Bini (Grizzly Man). Learn more and purchase tickets at focm.org.
Our innovative VR to Go program had a successful launch in December, with sold-out weekend rentals of virtual-reality headsets loaded with 10 immersive curated VR pieces in exclusive U.S. partnership with the PHI Centre of Montreal. Those experiences are available through March 4, and later this spring, you can look forward to a new selection of amazing VR experiences offered through VR to Go. Learn more, reserve rentals, and find updates at nwfilm. org/vr-to-go.
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PORTLAND INTERNATIONAL FILM FESTIVAL ANNOUNCEMENT The pandemic has brought many challenges and limitations to our sector. With the limitations of our small staff and restrictions for COVID safety, we have decided to postpone PIFF. Subscribe to our e-newsletter and follow our social media channels for exceptional viewing opportunities and recommendations from around the globe.
MEMBERS & PATRONS
PATRONS
Patrons are among the Museum’s most generous annual donors whose shared connection to the Museum is enhanced by a host of offerings that bring art into daily life. Patron support advances the Museum as a cultural resource in the Pacific Northwest. In recognition of their generosity, Patrons have access to a host of benefits that deepen their involvement with the Museum. To learn more about the Patron Society, visit pam.to/patron or contact Emma Kirby, Patron and Annual Giving Officer, at emma.kirby@pam.org or 503-276-4312.
PATRON VIEWING
FRIDA KAHLO, DIEGO RIVERA AND MEXICAN MODERNISM FROM THE JACQUES AND NATASHA GELMAN COLLECTION Patrons are invited to an exclusive viewing of this highly anticipated exhibition. Enjoy over 150 works, including paintings and works on paper collected by Jacques and Natasha Gelman alongside photographs and period clothing. Look for your invitation with more information on this special opportunity this spring!
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Nickolas Muray (American, 1892–1965). Frida Kahlo on a White Bench, 1939. Carbon print, 117 7/8 x 14 1/8 in. The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © Nickolas Muray Photo Archives
WHY I GIVE Patron Spotlight
What do you enjoy most about being a member of the Patron Society community?
GREG TIBBLES, Portland Art Museum Trustee;
The fact that it is a community. Though I was born here in Portland, I wasn’t raised here and never worked here. Being a member of the Patron Society has helped connect us to the community through the shared love of the arts and visual arts in particular. The well-designed cultural trips to other cities are certainly a plus, and I look forward to joining in those once they resume. The special insights into exhibitions through such things as Patron previews are wonderful, as are interactions with PAM’s set of talented, forward-thinking curators. I love the way they work together to increase the breadth and depth of the collection.
Patron Society Member (since 2005) with spouse Cathy Tibbles
Why do you give to the Portland Art Museum? Supporting the arts, in general, helps lead to a vibrant, nurturing cultural environment in any city. Helping to provide support to the oldest established museum in the Pacific Northwest is particularly important. PAM anchors the arts in downtown Portland, and the vision of unifying the two historic buildings via the Rothko Pavilion will firmly set that anchor, providing a community locus for all. Cathy and I do what we can to support that vision and mission.
“Being a member of the Patron Society has helped connect us to the community through the shared love of the arts and visual arts in particular.”
What is your favorite exhibition to visit at the Museum? That’s almost like asking which of your children you love the most! While I love wandering the permanent collection galleries and thoroughly enjoy mainstage exhibitions like the current Nefertari and the beautiful Nabis, I have really enjoyed the exhibits that step outside classical arts. A trip up the stairs to see whatever is current in the APEX space is always rewarding. And every visitor should go see the Mesh
exhibition. The Shape of Speed [2018] with its classic cars was simply beautiful—breathtaking art on wheels; the LAIKA exhibit [Animating Life, 2017–18], with its connection to greater Portland, was a delight for adults and children both. I hope PAM continues to challenge and entertain its patrons for decades to come. Did I mention the Hank Willis Thomas show [All Things Being Equal..., 2019]? Wow! If you are interested in learning more about the Patron Society, please scan the QR code with your phone camera or contact Emma Kirby at 503-276-4312 or emma.kirby@pam.org.
Patrons are annual donors who experience a shared connection to the Museum who genuinely believe in our mission and directly support the exhibitions, installations, and films our community experiences daily. We also offer corporate memberships through our Patron Business Society! More information about benefits are available at portlandartmuseum.org/support/patron-society.
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JUST FOR MEMBERS FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM FROM THE JACQUES AND NATASHA GELMAN COLLECTION Members-only Viewing Times 10 – 11 A.M
JUST FOR MEMBERS: Special admission times for Frida Kahlo, Diego Rivera, and Mexican Modernism will be available during the first hour every day that we are open. Can’t make it during a members-only time? Don’t worry! Members are also welcome to reserve their free admission tickets for any other times that we are open! Watch your email inbox for more information as additional times and dates become available. For additional information and answers to our most frequently asked questions about ticketing for this exhibition, please see our Ticketing and Timed Entry section on page 4.
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 exhibition visit. Please note that member tickets are limited to the named individuals on your membership cards. The Museum also offers a number of online lectures, film screenings, and web-based events at free or reduced cost to members. Please note that because capacity is often limited, RSVPs and/or advance ticket reservations for online lectures and special events are highly recommended.
How to reserve your free Museum admission tickets as a member: Online: Be sure to sign in to our website with your email address and password in order to access your member discount. The membership discount will be applied after you’ve added ticket(s) to your shopping cart and proceeded to the checkout. Remember to print your e-ticket(s) to present at the Museum for entry.
Do we have your email address? Don’t miss out! Online communication has become more important than ever—make sure we have your current email address on file to stay connected with your Museum as we look forward to new opportunities for online events and programs in the months to come!
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Onsite: Visit the Museum’s box office with your current membership card(s) and/or photo ID. Please note that as visitors will only be admitted to our special exhibitions via timed-entry tickets, some time slots may already be sold out by the time of your visit. Advance reservations are recommended.
Questions about your membership status or timed-entry tickets? Need to update your address or request new membership cards? Answers to our most frequently asked questions can be found online at portlandartmuseum.org/faqs. For a full listing of our new health and safety policies, visit portlandartmuseum.org
LEFT: Diego Rivera (Mexican, 1886–1957), Sunflowers, 1943. Oil on canvas. The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art and the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL). © 2022 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ Artists Rights Society (ARS), New York. Photo by Gerardo Suter; MIDDLE: Nickolas Muray (American, 1892–1965), Frida with Red “Rebozo,” 1939. Carbon print; 15.7 × 10.7 in. The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © Nickolas Muray Photo Archives
GIFTS & GATHERINGS
WAYS TO GIVE Every gift has the power to provide experiences that invite, inspire, and connect people with art and each other.
ONLINE pam.to/give
BY MAIL Development Office 1219 SW Park Avenue Portland, Oregon 97205 development@pam.org
THANK YOU The Portland Art Museum and Northwest Film Center gratefully acknowledge the members and supporters who make our mission possible. All gifts above $250 received September 27 through December 21, 2021. *deceased Carl and Margery Abbott Dr. Anisha Abdul-Ali and Gregory Abdul-Ali Thomas Adams and Kathleen McDonnell Carol and David Adelson Roudabeh Akhavein Nathaniel Akin and Celest Brown Robert Albano and Kathleen Fitzgerald Connie Sheils and Christine Alexander Ameriprise Financial Jeff Amidon Jessica Amo Donald Andersen Linda and Scott Andrews Peter and Maddie Andrews Liesl Andrico Brittany Andrus Greg and Margrit Angeloni Nichole Anglin and Lance Zaklan Stojanka Arapovic Dio Sumagaysay and Daniel Arzola Jean and Ray Auel Robert Aughenbaugh and Chi Nelson Linda Augustine
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Jennifer and David Austin Bill Avery Ms. Debra Avery Stephen and Irene Bachhuber Arlene H. Baker John Baker and Jana Bauman Susan and Walter Bala Robert and Julia Ball Bank of America Charitable Gift Fund Sharon and Keith Barnes Alice Bartelt and Paul Moore Lane and Tracy Barton Dr. and Mrs. Michael Baskin Bassetti Architects George W. Bateman Lisa Beach Heidi Beaver Michelle Smith and Sam Beebe Jane and Spencer Beebe Nancy and R. William Bennetts Elizabeth Berg Ron Bergman Patricia and Mark Binder John and Suzanne Bishop Tim Bishop
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2021 Portland Book Festival.
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PAM’s 129th Birthday Celebration.
Katharine McDuffie and Dr. Allen L. Dobbins Mr. Kirk Dobbins Sarah Dougher and Nate Overmeyer Gile and Melinda Downes Karen Downing Andrew and Luchana Dudley Barbara Duerden Myrna and James Dunnigan Kitt and Butch Dyer Ms. Carol Edelman Dr. Richard H. Edelson and Ms. Jill Schnitzer Edelson Dr. Jim Edwards and Dr. Michele Mass Elizabeth and Gilbert Eklund Elizabeth Leach Gallery Nicole Elsner and Michael Eldridge Elvita B. Engelgau Elizabeth English Mary K. English Estate of W.H. Nunn Jolette Nelson and Jan T. Fancher Christine Farrington Jeanette and Ed Feldhousen Mr. Matthew Felton Susan Fernald Erin Fettes and Ms Diane Field and Richard C. Williams Theresa M Filtz and George Estreich Nadine J. Finch Virginia Fink Lana and Christian Finley Finley Family Foundation Bruce and Cynthia Fitzwater Myron and Pat Fleck Ann Flowerree/ Floweree Foundation Lucinka Forster Elyse Foster and Bill Shalen Mr. Gilbert Fox Katherine and Mark Frandsen Suzan Frangos Eustacia Su and Edmund Frank Pamela Frankel Robert and Catherine Franklin Cass and Bob Freedland Ellen Freedman Deborah and Dr. Larry Friedman Charles Froelick and Wilder Schmaltz Yoko Fukata Carole Gaglione and Teri Redwolf Don Gagne Mary Ellen Gardner Randy Garitty and Suzanne Congdon Robert and Melissa Garlinghouse Pauline and John Garney Sam Garrett and Tracey Lander-Garrett Suzanne Geary
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Deborah Marion and Andrew Mathe Jerry L. Martin Marv Tonkin Leasing Company Erin K. Masciotra Mason Charitable Trust Susan and Fred Matthies Jennifer Maxwell-Muir Maude May and Robert Taylor Susan J. McAnulty Catherine McClaskey Sylla McClellan Leonie McConville and Steven Okey Michael and Maryellen McCulloch Robert and Ruth McDevitt Kevin and Maureen McGovern McGraw Family Foundation Daniel McInnis Ellen McKeever June and Dr. Marianna McLean Kanoi and Doug Mcleod Carolyn McMurchie Stuart McNaughton Sarah Miller Meigs and Andrew Meigs Hilary and Dave Melbourne Maria Menor and John Johnson Merrill Lynch Wealth Management Anna and Sean Mersereau Karen and Robert Metter Donald Mickey and Stephanie Feeney Constance and Crete Anne Miller Mia Hall Miller and Matt Miller Carolyn Miye and David L. Sheppard Rhoda Moeller Karel Lee Moersfelder Stephanie Murray and Jon Mohr Jan and Michael Molinaro Anne and Alexandra Moltchanoff Claudia Montagne Susan Monti Ms. Melanie Moon and Ethan Benatan Neil J. Moore Mark and Donna Moore Donna Morris and Willem Sweat Maribel Murillo Julie A. Murphy and Lauren Frye Judy Murphy Murali and Indira Nallakrishnan Christine Nelson Marguerite and Jim Nelson Lorraine A. Nevill Gareth and Lisa Nevitt Savannah Satterlee and Eric Newton Lisa Maurine and Alexander Ney Maryann and Marvin Nickel Diane and Kevin Nolting Northwest Academy Robert Nosse and James Laden
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Cathy Nusbaum NW Natural William and Lynda O’Neill Elisabeth O’Brate Paul and Audrey Oliver Greg and Gina Olivers Madeline and Allan Olson Lisa Onstad John Orcutt Oregon Arts Commission Oregon Community Foundation Oregon Cultural Trust Oregon Heritage Commission Oregon Jewish Community Foundation Jay Orloff Barbara and David Osborn Nate Overmeyer Barbara K. Padden Cheryl Papé Hyunjoo Park Trude Parkinson Mary and Alan Parlee Amy Mintonye and Michael Paul PDX CONTEMPORARY ART Katherine Pease and John Saurenman Jim Pellmann and Mike Sellers Julie Perini and John Frentress Perkins Coie Christopher and Janet Perry Pershing LLC Alisan and Keith Peters W.N. and J.W. Peters Charitable Fund Debra and Chris Peterson Mr. and Mrs. Robert W. Philip Kerry Phillips Mr. Frank B. Piacentini and Ms. Sara Weinstein Dorothy Piacentini Jordan Pieper Linda and Ralph Pierce Diane M. Plumridge Kelly and Mike Plunkett Travers and Vasek Polak Robert Pope and Cathy Nusbaum Dr. Yale Popowich Ms. Andrea Porfirio and Rachel Porfirio-Kelley Portland State University Mrs. Dee Poth Tim Price and Brenda McLaughlin Stan and Kim Prosser Lucy and Herb Pruzan David R. Roth and Tangela Purdom Ron and Lee Ragen Gopalan Raman Marcia H. Randall William and Anne Rasnake Kathleen and Thomas Rastetter Lynn Raube and Jeff Behnke Raymond James Financial Services
Catana and Mark Reber Phyllis I. Redman Lisa Regimbal and Anthony Jones Elizabeth and Jordan Rice Rex Burkholder and Lydia Rich Anne and Robert Richardson David and Madie Richenstein Bob and Marilyn Ridgley Dorothy and Erik Riechers Traci Rieckmann and Morgan Rieckmann-James Debbie Rink Janis Rosenthal and Jeffrey Rinkoff Pat and Trudy Ritz Robert Lehman Foundation Robert W. Baird & Co. Inc. Emily and Jonathan Roberts Ruth and Jane Robinson John A. Wilson and Caroleigh Robinson Jennifer Pons and Marcus Robinson Joe and Bobbie Rodriguez Jannebeth Roell and James Lee Evan Rogers and Jennifer Williams Rogers Machinery Company, Inc. Andrew Romanowski and Mary E. Foley Michael Rosa and Gregory Larkin Donald Rosen Rosenthal-Cohen Foundation Jean and Stephen Roth Roth Charitable Foundation Richard and Deanne Rubinstein Brian M. Rudacil Dr. Marilyn L. Rudin and Mr. Richard S. Testut Jr. Mark Rumer and Kathryn Rumer-Cleary William K. Rutledge, Jr. Kurt and Joanne Ruttum Sarah Ryan Barbara and Charles Ryberg Dr. Patricia E. Sacks Rudy and Thea Sanchez Claudia and Mark Sanzone Jennifer and Tom Saunders Diane and Lawrence Sawyer Mary M. Sayler Elizabeth S. Sazie and Ken Brown Esther and David Schaezler Loren J. Schlachet Carmen Schleiger and Joan Finholt Robert and Bonnie Schlieman Arlene Schnitzer* Mr. Jordan D. Schnitzer Susan Schnitzer and Greg Goodman Holly Schnur Schwab Charitable Fund Jack and Barbara Schwartz Marcy Schwartz Wayne Schweinfest Bonita Sebastian and Valerie Hunt
Lois M. Seed and Daniel M. Gibbs Elmer and Linda Seeley SEI Private Trust Company Ms. Grace Serbu Bonnie Serkin and Will Emery Jessie Ly and Peter Shaw Brett and Stacy Sherman Peter Shinbach Bennett and Elyse Shoop Michael and M. Kelly Sievers Barbara and Phil Silver Dr. Ellen Singer and Eamon Molloy Jaymi and Francis Sladen Brianna and Niilo Smeds Lisa C. Smith and Harry G. Bissinger Katherine E. Smith Rick and Jacky Sohn William Sullivan and Janell Sorensen Janae and Matt Sorenson Laura G. Spurrell Katherine Weaver and Mikael Stadden Mr. David M. Staehely Sharon Stanton and Michael Leeson Ellen and Charles Stearns Anne Stein-Gray and Nicole Gray Patricia Stenaros Mrs. Diva Stephens Helen Stern Lindsay and Corinne Stewart Wendy Stickel and Peter Olson Gail Stolz and Denny Patella Jill and Sean Stone Phyllis A. Stott Richard and Lila Suffoletto Monique Sullivan Tracey Summers and Maxine Wiggs Ms. Linda Kozlowski and Mr. Bill Supak Flora Sussely Bill Swindells and Heather Casto Ambassador Charles J. and Caroline H. Swindells Ms. Kim Cassel Tardie Christine Tarpey and Richard Yugler Patricia Tarzian Hulya Tasoren Dave and Ann Taylor The Boeing Company The Collins Foundation The Donald W. Carlson Trust The Jackson Foundation The Johnson Family Foundation The Keller Foundation The Kinsman Foundation The Lamb Baldwin Foundation The Smidt Foundation The Standard The Swigert Warren Foundation David and Nancy Thomas
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.
Kathryn Thomas Marta and Ken Thrasher Greg and Cathy Tibbles Mrs. Rena L. Tonkin Cheryl Tonkin Kelly Toshach Robert Trotman and William Hetzelson Patricia and Anthony Trunzo Thomas and Nancy Truszkowski Tulsa Community Foundation Kate Turpin U.S. Small Business Administration Bruce Ulrich and Marie Hatton University of Portland Alberto Vaca Greg Rucka and Jennifer Van Meter Lindsay Van Nice and Anthony Van Nice Nancy Vartanian Christine and David Vernier Andrew Vetterlein Linda Vickers Pamela R. Vohnson and David Streight George Vriese and Kathryn Grimes W.N. and J.W. Peters Charitable Fund Bill and Leslie Waldman Mark S. Walker Kristin and Nicholas Walrod Kyla Walsh and Jason Tongen Leah Waltman Silvia Waltner Gail Wangenheim Linda and Richard Ward Jean S. Kempe-Ware and Gordon M. Ware Mrs. Nani S. Warren* Mike Warwick and Susan Bailey Nancy Weaver Dan Webb Ranjeewa and Roshanthi Weerasinghe Robert Weisman and Ruth Ross Wells Fargo Wendy Wells Jackson West Coast Masters LLC Karin and Barton Whalen Erin Whitlock and Patrick Beard Jo Whitsell Whitsell Family Trust Lee Ann Wichman Jan A. Widmayer Dan Wieden and Priscilla Bernard Wieden Vincent Willeford Janice & Tim Williams Mr. and Mrs. Orlando Williams Janet Williamson Julia Willis Brad and Laura Winter Loring and Margaret Winthrop
Kendra and Douglas Wise Joseph Wolf and Lisa Rackner William and Jackie Woods Dennis Worrel and Christine Harrison Ms. Susan A. Wright Geneva and Darrell Wright Merri S. Wyatt Judith Wyss Michelle York Heather Young Catherine Younie Wade Younie and Barb Gribskov Jonghoon Kim and Jahae Yun Mrs. Shelby Zepeda and Karl LeClair Paul M. Zimmerman and Cheryl Thoen Tracy Zitzelberger and Kevin Wagoner Anonymous (6)
TRIBUTE GIFTS
Elizabeth Brooke in memory of Nani S. Warren Bruce Guenther and Eduardo Vides, MD in memory of Nani S. Warren William S. Hart in memory of Helanie M. Hart Selby J. and Douglas Key in honor of Mary Chomenko Hinckley Peter and Maddie Andrews in memory of Peter and Mary Mark Eugenia Potter in memory of Muriel D. Lezak Sarah Potter and Kenneth Anderson in memory of Mary Potter Wallace L. and Bettsy Preble in memory of Nani S. Warren Lisa M. and Van Purcell in memory of Muriel D. Lezak Barbara and Charles Ryberg in memory of Sue Horn-Caskey Jack B. and Barbara Schwartz in memory of Nani S. Warren Julie Sheppard in memory of Sue Horn-Caskey John and Joan Sterrett in memory of Nani S. Warren Ambassador Charles J. and Caroline H. Swindells in honor of Fred and Gail Jubitz Cheryl Tonkin, Rena Tonkin, & Marv Tonkin Leasing Company in memory of Alan Baron Tonkin
EXHIBITION SERIES SPONSORS As of December 31, 2021 PRESENTING SPONSORS
Mary and Ryan Finley William G. Gilmore Foundation The James F. and Marion L. Miller Foundation Nancie S. McGraw
LEAD SPONSOR
Mary and Cheney Cowles Flowerree Foundation Travers and Vasek Polak The Smidt Foundation
MAJOR SPONSOR Maribeth Collins Exhibition Endowment Fund Gospel of Thomas, LLC Pat and Trudy Ritz The Standard
SPONSOR
The Sharon and Keith Barnes Endowment Fund Robert Trotman Interior Design
LEARNING & COMMUNITY PARTNERSHIPS ACCESS SPONSORS As of December 31, 2021 The Lamb Baldwin Foundation Ed Cauduro Fund of the Oregon Community Foundation Robert Lehman Foundation
Maybelle Clark Macdonald Fund Nordstrom OCF Joseph E. Weston Public Foundation
Oregon Community Foundation Oregon Cultural Trust The PGE Foundation
Barbara and Phil Silver Cheryl Tonkin, Rena Tonkin, & Marv Tonkin Leasing Company, in memory of Alan Baron Tonkin
U.S. Bank
Glenda Goldwater Estate Mary Hinckley in appreciation of Susan Winkler and Selby Key for all their work done to benefit the Portland Art Museum Judy Hatton
Sue Horn-Caskey*, Rick Caskey, and Bruce and Jeannette Morrison Michael Kenna Henk Pander
Martha Ullman West Dennis Witmer Anonymous
GIFTS OF ART October 1 – November 30, 2021 American Academy of Arts and Letters, New York; Sculpture Purchase Funds, 2019 Joyce and Michael Axelrod Collection Jane Beebe Daniel Bergsvik and Donald Hastler
Daniel Bergsvik and Donald Hastler in memory of Don Frank James D. Burke in memory of Stephen L. Gallagher, Jr. James D. Burke in honor of Mary Ann Steiner Kit Gillem in honor of Deborah Horrell
PORTLAND ART MUSEUM 35
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 With many of us spending more time at home, it’s a great opportunity to fill your walls with local art. You can swap out pieces and try new works through our art rental program. Located at Southwest 10th and Jefferson, just behind the Museum, the Gallery offers over 1,000 works of original art, created by more than 200 regional artists for rent or purchase. RSG is open for walk-in visits Tuesday–Saturday, 11 a.m. – 5 p.m. Proceeds support both local artists and your Museum. Learn more at rentalsalesgallery.com.
MUSEUM STORE
Museum Store
Support the Museum by shopping in our Museum Store or online at store@pam.org. This season we are featuring beautiful offerings related to Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection, as well as our usual huge selection of cards, books, jewelry, handbags, scarves, and toys.
The Museum Store is now online, with shipping and curbside pickup, and it’s easier than ever to browse the eclectic selections that the Store is known for. Visit store.pam.org and use discount code MEM1219 to receive your 10% member discount on the same great merchandise you’d see in-store, online! The Store remains open during Museum visitor hours (check portlandartmuseum.org for current hours and restrictions).
Artful Venues The Museum’s ballrooms and other event rental spaces are again available for community gatherings—reserve your special date now at artfulvenues.pam.org! All proceeds help fund the Museum’s learning and exhibition programs. Discounts for nonprofits are available. The Portland Art Museum follows COVID-19 safety guidelines for events in its rental venues. Visit artfulvenues.pam.org.
RENTAL SALES GALLERY In the Rental Sales Gallery New Artists’ Show (opening February 11, 4–7 p.m.), please welcome the newest Member Artists into the Rental Sales Gallery and discover their diverse and beautiful works of art. And the Gallery’s Spring Member Artists’ Show (opening April 29, 4–7 p.m.) presents hundreds of new artworks from some of the finest contemporary artists in the Pacific Northwest. All artworks in the shows available for both rental and purchase.
ARTFUL VENUES IS OPEN! The Museum’s beautiful Kridel Grand Ballroom now features new carpeting and major upgrades to lighting and audiovisual systems for a state-of-the-art experience. Learn more at artfulvenues.pam.org.
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Rental Sales Gallery, Emily Miller, Big Sky Clover.
PROGRAMS
For the latest on virtual 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
503-226-2811 503-276-4249
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.
EXHIBITION SCHEDULE Opening FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM February 19, 2022 – June 5, 2022 CONSTRUCTING REVOLUTION: SOVIET PROPAGANDA POSTERS FROM BETWEEN THE WORLD WARS July 2, 2022 – October 9, 2022 DAKOTA MODERN: THE ART OF OSCAR HOWE November 5, 2022 – May 14, 2023 BLACK ARTISTS OF OREGON Summer 2023
Tickets available online.
Continuing MESH Through May 8, 2022 APEX: SHARITA TOWNE AND A BLACK ART ECOLOGY OF PORTLAND Through June 2022 AUX/MUTE GALLERY: IN MY SKIN Through February 27, 2022 ISAKA SHAMSUD-DIN: ROCK OF AGES Through August 2022 PORTRAITURE FROM THE COLLECTION OF NORTHWEST ART Through August 2022
FREE & REDUCED
ADMISSION Every Day
Children ages 17 and younger are free. Arts for All – Oregon Trail Card holders can purchase up to two admissions for $5 each Blue Star Museums Program – Offers free admission to the nation’s active-duty military personnel and their families 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.
1219 SW PARK AVENUE PORTLAND, OREGON 97205 PORTLANDARTMUSEUM.ORG
1219 SW PARK AVENUE PORTLAND, OREGON 97205-2430
Valentina Kulagina, Russia (1902 - 1987), 1905 Road to October, 1929, Lithograph on paper, 46 x 33 in. (116.84 x 83.82 cm), Collection of Svetlana and Eric Silverman, © 2020 Estate of Valentina Kulagina / Artists Rights Society (ARS), New York.
Dmitry Moor (Dmitry Stakhievich Orlov), Russian, (1883 - 1946), Did You Volunteer?, 1920, Lithograph on paper, 41 x 28 in. (104.14 x 71.12 cm), Collection of Svetlana and Eric Silverman
CONSTRUCTING REVOLUTION: Soviet Propaganda Posters from between the World Wars JULY 2 – OCTOBER 9, 2022
