A Museum Without Walls Take A Virtual Tour Of The World’s Great Art Museums

If you pointed out galleries in Chicago to me as details to do when I was younger it wouldn’t have had an interest me. Since when I was a child I was never ever exceptionally fond of visiting galleries, it was regularly info that we did however it was often really boring for me.

That altered when I stayed in University, and also I had the opportunity to view these large spectacular galleries in Chicago. They are merely superior, you can view a lot of culture, from the previous and already existing in addition to some also inform you just what’s being set up for the future, it’s simply phenomenal! These cover everything from scientific research, society, fine art, under the water, previous history as well as more. Take a look potentially you’re like me, this made it makes many things come alive that I would certainly never ever believed a lot regarding prior to they’re simply impressive.

Right here is a listing of terrific galleries in Chicago:

1. The Topic Gallery: This fantastic gallery has the largest most full T-Rex called Sue, plus terrific exhibitions from worldwide. 10s of thousands of historical artefacts remain in this gallery making it worth a see.

2. The Shedd Aquarium: If you have actually ever before wondered about simply exactly what life would absolutely look like underwater this gallery literally has groups of water animals from around the globe from the oceans, to the tropical forest. Hang out below and view the world like you haven’t in the previous. It’s wonderful or perhaps a little frightening to see a titan tank with a shark swimming right next you.

3. The Fine art Principle or Chicago Art Gallery is close by as well as it has such an elaborate screen of many countless forms of art from around the world. This gallery is amongst a few world-renowned art galleries that have the range as well as the amount of display viewed here.

4. The Planetarium, area travel is uncovered, from the beginning to the future of room understanding and also travel. Delight in useful exhibitions as well as exceptional motion pictures that make you feel like you’re actually there.

5. The Science Gallery or the Gallery of Science and Industry is among my personal preferred, view simply what it’s truly favored to be aboard a German Submarine, ask an individual worrying DNA, find trains, boats, area taking a trip therefore a lot more. This substantial museum is an awesome area for any kind of individual captivated in science from early improvement to current and future ventures.

6. The Kid’s gallery on Navy Pier, each of the above museums have topics where children can explore as well as interact to their hearts matter, nonetheless this Children’s gallery has 3 floorings loaded with enjoyable exploration, from climbing to structure, to safety exploration, a water area and much more. I have in fact taken kids listed below and it’s tough to encourage them that it’s time to go. This is a topic your youngsters will absolutely be asking you to take them back to.

7. Social galleries in Chicago variety from the Du Sable museum of African-American Heritage, to the National Gallery Mexican Cultural Art, The Glessner Gallery on Urban life, architecture as well as more.

The above-mentioned museums are a living testimony of our tumultuous shared world history. They contain the artifacts and narratives of the societies and individuals that lived in the same geographies and breathed the same air as we do. If we reflect upon our history we can observe that human beings have learned on the whole to live in conjunction with one another despite our obvious competing and self-serving interests. As societies and civilizations have developed and learnt to live in harmony with one another they have begun to recognize the value or each other’s civilizations and collected the art, literature, armaments, clothing and everyday items that were representative of a people and culture. These items often are collected and stored in museums by curators who are specifically trained in cultural heritage management.

Museum curators, archeologists, anthropologists, sociologists, historians and the interested citizen are all people who contribute to this process of cultural conservation. Many of the previously mentioned people are considered industry experts and reference themselves as cultural heritage consultants. These individuals pride themselves in contributing to the ongoing survival of bygone eras earnestly believing that as we all understand our past we will be better able to prepare for the future. Many of our societies are highly culturally diversified consisting of so many racial, religious and cultural points of views. Oftentimes the misunderstandings and conflicts that can occur because of our different points of views can be avoided taking the time to see things from the perspective of the other part. This has certainly been the case in the continent of Australia where indigenous people have had many conflicts with the European settlers, or invaders, depending on your point of view. Aboriginal cultural awareness training is proven to be of great benefit to both individuals and corporations in resolving intercultural conflict and prejudice.

Vik Muniz: First acquisitions by new Contemporary Collectors Circle

This fall, visitors to the Museum are enjoying three newly acquired works from the Rouen Cathedral series by Brazilian artist Vik Muniz, inspired by Impressionist master Claude Monet’s well-known paintings.

The three artworks were purchased for the Museum by its newly founded Contemporary Collectors Circle (CCC), whose goal is to transform the Museum and the city through the acquisition of major works of contemporary art. The concept for the CCC was born out of the personal experiences of Matt Felton, a Museum Trustee with a passion for modern and contemporary art.

“Being relevant means boasting a great collection of contemporary art—a broad and extensive inventory of internationally recognized and conceived art works,” says Felton. “The creation of  the Contemporary Collectors Circle is an enriching experience for all of us involved, inspiring appreciation and collection of contemporary art on a personal level, as well as the advancement of the Museum’s collection.”

The group believes this initiative will not only benefit the Museum immediately, but will also have the long-term effect of positioning the institution and Portland as a national and international destination for 21st-century art.

The group members, who dedicate donations annually, travel to the world’s leading art fairs, galleries and private collections considering pieces for acquisition. Trips during this inaugural year included Art Basel Miami Beach, Frieze New York, and the Seattle Art Fair. It was at Frieze where the first purchase was made—an impressive set of three photographs by Muniz, who is widely celebrated as one of the most innovative and creative artists of our time. Originally trained as a sculptor, he is now renowned for creating what he calls “photographic delusions.”

The three works reimagine a famous Claude Monet painting of Rouen Cathedral. On the surface it appears as if Muniz has recreated Monet’s impressionistic brush strokes. Yet on closer look, we see the multitude of images of other works of art cut from magazines, catalogs, and art books that compose the animated surface—an art history primer contained in a reference to an iconic work of 19th-century European painting.

“The selection of these wonderful works by Vik Muniz demonstrates the aims of the group—to acquire art works that are engaging with a show-stopping impact,” said Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art. The Muniz photographs are now on view in the Luwayne E. “Buzzy” Sammons Gallery.

For more information about joining the Contemporary Collectors Circle, please call Elizabeth Thomas at 503-276-4206.

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Portland Art Museum


Museum Expands with the Rothko Pavilion

A New Building – the Rothko Pavilion – will Unify the Museum’s Campus and Create a New Community Commons Free and Open to the Public, as Well as New Exhibition Spaces and a Rooftop Deck and Sculpture Garden

Rothko Pavilion illustration

View of the east entrance plaza. Courtesy of Vinci Hamp Architects.

The Portland Art Museum today announced both an expansion that will unify its campus by connecting the Museum’s freestanding buildings, and a 20-year partnership with the children of Mark Rothko, Christopher Rothko, and Kate Rothko Prizel. The partnership includes the loan to the Museum of major paintings by Mark Rothko from their private collection; paintings will be loaned individually in rotation over the course of the next two decades.

The expansion will feature a new glass-walled building, to be named the Rothko Pavilion, in recognition of the artist’s legacy in Portland—his home as a youth after immigrating from Latvia—and the Museum, where he took art classes as a teenager and where he received his first solo exhibition. The naming was made possible thanks to the $ 8 million lead gift from a donor who wished to remain anonymous so the pavilion could be named in Mark Rothko’s honor.

The expansion project will seamlessly link the Museum to the surrounding Cultural District with a new central entrance flanked by greenery and sculpture that opens onto the South Park Blocks. The project will make the Museum more publicly accessible, while knitting the campus together with the surrounding neighborhood and reducing the Museum’s carbon footprint. Groundbreaking is scheduled to take place in 2018, with an expected completion date for the project in late 2020 or early 2021. The Museum is launching the public phase of a $ 75-million capital and endowment campaign to fund the project. To date, $ 21.75 million (43 percent) of the $ 50-million capital goal has been raised, and $ 5.4 million has been raised towards the $ 25-million endowment goal.

“The partnership with the Rothko family is a homecoming of sorts, enabling us to share with the public major works from the family’s private collection, offer new insight into Rothko’s practice, and honor his legacy in the Pacific Northwest and the international arts community,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director and Chief Curator. “We are deeply appreciative of Christopher and Kate’s extraordinary generosity in sharing these works with the people of Portland, the state of Oregon, and visitors to our city. Our plans for the Rothko Pavilion bring together the elements of the Portland Art Museum’s mission: to present exceptional works of art, develop exhibitions that take new perspectives on human creativity, and increase public accessibility and inclusion.”

“Our family is thrilled to enter into this partnership with the Museum,” said Christopher Rothko. “Portland played a formative role in my father’s youth, and we are eager to share these works with the public and give Rothko a more active role in the vibrant cultural life of this city.  Our hope is that visitors will take the time to pause and engage with each of these paintings, and to participate in the process of ‘slow looking’ that the Museum has championed.”

Designed by Chicago-based Vinci Hamp Architects, the three-story Rothko Pavilion will add roughly 30,000 square feet of space to the Museum and will be anchored by a glass-walled stair tower that will connect the Pavilion to the Museum’s Main Building. In addition to the Community Commons, the Pavilion will feature 9,840 square feet of new gallery space, including space for contemporary and media art, as well as a new Education and Design Lab, and new space for the Museum’s library. The project will also create a third-floor sculpture garden that will provide visitors the chance to step outside and enjoy the Museum’s natural surroundings; the rooftop deck will also serve as a space for public programming and events. The paintings loaned by Christopher and Kate Rothko Prizel will be installed in light-controlled galleries adjacent to the new Rothko Pavilion.

“As we look forward to the next 125 years, we look to strengthen our connection between the Museum and the public it serves,” said Janet Geary, Chairman of the Portland Art Museum Board of Trustees. “Our campaign will connect building to building, the Museum to the community, people to art and to each other.”

Architect Vinci Hamp’s previous work includes projects for the Art Institute of Chicago, the Norton Museum of Art in West Palm Beach, the Cooper Hewitt Smithsonian Design Museum and the Neue Galerie in New York, the Milwaukee Art Museum, and the Oriental Institute, Smart Museum of Art, and The Arts Club in Chicago, among others. Also known for their historic preservation work, Vinci Hamp has completed award-winning projects that include the Illinois State Capitol, Chicago Tribune Tower, and Frank Lloyd Wright’s Home and Studio.

The Portland Art Museum has mounted exhibitions by a diverse roster of artists since the time of its founding. In 1913, the Museum brought works from the famous New York Armory Show to Portland, helping to introduce West Coast audiences to Modernism. In 1933 the Museum organized the first solo exhibition of works by the 29-year-old artist Marcus Rothkowitz, later to be known as Mark Rothko.

Ferriso joined the Portland Art Museum in 2006, and in 2016 was appointed President of the Association of Art Museum Directors. During his tenure at the Museum, Ferriso has helped to build a $ 4-million endowment dedicated for initiatives to increase public accessibility, enabling one-third of all visitors to receive free or reduced admission and supporting the Museum’s program of free school tours and free admissions for those 17 and under. He has also doubled the Museum’s curatorial staff, with four curatorial positions fully endowed at $ 2 million each, and greatly expanded the Museum’s development of original exhibitions. Under his leadership, the Museum has presented notable exhibitions including a major Mark Rothko retrospective in 2012, as well as Wild Beauty: Photographs of the Columbia Gorge, 1867–1957 (2008), featuring works by Carleton E. Watkins, Lily White, and Sarah Ladd, among others; Carrie Mae Weems: Three Decades of Photography and Video (2013), a solo exhibition by the Portland native; Contemporary Native Photographers and the Edward Curtis Legacy: Zig Jackson, Wendy Red Star, Will Wilson (2016); The Enclave: Richard Mosse (201415) featuring work by the Irish contemporary conceptual photographer; The Question of Hope: Robert Adams in Western Oregon (201314); and Josh Kline: Freedom, which is currently on view. Ferriso has also focused on transparency and accountability to the Museum’s community, including a commitment to the tradition of annual Board Meetings open to the full Museum membership and attended by hundreds of members of the public.


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Five Buddhas Exhibition Garners International Press

Five Buddhas: A Korean Icon’s Journey through Time, the Korean temple painting that will be repatriated after its exhibition at the Museum this fall, has earned attention from international and online media including the Korean YonHap News Agency, Korea TimesReformatorisch Dagblad (The Netherlands), Hyperallergic, and Exploregram. Read the full announcement below.

Five Buddhas: A Korean Icon’s Journey through Time
Portland Art Museum announces exhibition and repatriation of Korean Buddhist painting

September 3–December 4, 2016

The Portland Art Museum is pleased to announce an exhibition, symposium, and repatriation of a sacred Korean icon. Five Buddhas: A Korean Icon’s Journey through Time tells the story of a stolen painting—its discovery, restoration, travel to Oregon, and return to the Korean people.

Oregonian Robert Mattielli lived in Seoul for three decades, during which time he often visited the cluster of antique shops in Mary’s Alley (Anguk-dong). He purchased a tattered and folded Five Buddhas painting in the early 1970s, a time when many temples were refurbishing their worship halls, and Buddhist paintings often appeared on the market. The painting was conserved by a well-known Korean restorer and framed as it is seen today. When Mattielli and his wife, Sandra, moved back to Oregon in 1985, the Five Buddhas traveled with them.

In 2014, the Mattiellis approached the Museum about donating the Five Buddhas—just in time for the painting to be examined by a team of visiting scholars from the Korean National Research Institute for Cultural Heritage (NRICH). Several months later, NRICH reported their discovery that the Five Buddhas painting, dating to 1725, was originally part of a suite of paintings that adorned a small chapel at Songgwangsa, a famous Son (Japanese, Zen) monastery located in the mountains in the southwestern part of Korea. The painting disappeared sometime in the early 1970s. When informed of news, the Mattiellis immediately offered to repatriate the painting to Korea.

Recognizing the unique opportunity to display the painting and educate visitors about issues surrounding ownership and repatriation of stolen and sacred works of art, the Museum offered to present Five Buddhas as a special exhibition and to present a corresponding symposium that will take place on December 3, 2016. Dr. Robert Buswell, who is widely recognized as the premier scholar of Korean Buddhism of his generation, will speak on “Songgwangsa and its Significance in the Korean Buddhist Tradition.” Professor Buswell spent five years meditating at Songgwangsa before beginning his academic career, and his first book examined Zen practice at the monastery. Today he holds the Irving and Jean Stone Endowed Chair in Humanities at the University of California, Los Angeles (UCLA), where he is also distinguished professor of Buddhist Studies and director of the Center for Buddhist Studies. Professor Maya Stiller of the University of Kansas will focus on the ritual context of the Five Buddhas in her talk on “Repentance for the Living and the Dead: The Avataṃsaka Compound at Songgwangsa.”

“The Portland Art Museum is honored to help facilitate the return of this important work of art to Korea,” remarked Brian Ferriso, Portland Art Museum Executive Director.  “We are grateful for the guidance and support we have received from the Korean Cultural Heritage Administration for helping us mount an important exhibition about Five Buddhas.  Special recognition must also be given to Sandra and Robert Mattielli for their ongoing generosity. Their gifts to the Museum will continue to benefit our community for generations as they help us present the beautiful art of Korea.”

The Museum is grateful for the Korean Cultural Heritage Association for sponsoring this project, and to the Mildred Schnitzer Memorial Lecture Fund for co-sponsoring the symposium.

Commitment to Repatriation

The Portland Art Museum is a proactive partner in repatriation claims and research.  Having recently completely cataloged and reported the contents of the Native American art collection, the Museum returned 18 Crow medicine bundles under the Native American Graves Protection and Repatriation Act in 2015. It is an honor for the institution to facilitate the return of the Five Buddhas to Songgwangsa.

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Museum Chief Advancement Officer Given Fundraising Award

The Portland Art Museum is proud to announce that Chief Advancement Officer, J.S. May, was nominated and selected for the “Allan Price Award for Distinguished Service to the Fundraising Profession” by the Association of Fundraising Professionals of Oregon and SW Washington.

A seasoned fundraising and communications professional, J.S. has worked for a wide range of nonprofit organizations, including Doernbecher Children’s Hospital Foundation at Oregon Health and Science University and Oregon Public Broadcasting. He has also served on the boards of the Portland Schools Foundation, the Creative Advocacy Coalition, and Cycle Oregon. Hired at the Museum in 2007 as director of development, at the beginning of the economic downturn, J.S. jumped into the vital work of fostering the sources of funding that would allow the Museum to fulfill and even expand its mission in the community while strengthening the institution’s financial stability.

He will be honored at the 30th Annual Philanthropy Awards Luncheon on November 7. The Allan Price Award was established in 2012 to recognize fundraising professionals who demonstrate exceptional skill and enthusiasm for their work, who pursue big ideas and successfully engage others in achieving them, and who inspire new levels of giving among donors, ultimately making Oregon and southwest Washington better through their efforts.

J.S. was nominated by Portland Art Museum Trustees Pat Green, Kathleen Lewis and Angela Snow.

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Labor Day Weekend at the Museum

Native Fashion Now—Last chance to catch the splendid summer exhibition celebrating more than 70 indigenous designers from across the United States and Canada.

Case Work: Studies in Form, Space & Construction by Brad Cloepfil/Allied Works ArchitectureTake one more look at this intricate installation exploring the sculptures and drawings of the celebrated Portland architect and his firm.

The annual Employee Art Show (September 1–4) is an opportunity for Museum employees to showcase their artistic talents. For the first time, works will be on view, and available for purchase at the Rental Sales Gallery.

Celebrate the art of Coast Salish Weaving with the opening of Restoring the Breath—Sacred Relationship in the Center for Contemporary Native Art, and join us for weaving demonstrations on Saturday, September 3 from noon – 3:00 p.m.

Participate in the traveling Truth Booth project on Saturday, September 3 from 11:00 a.m. – 5:00 p.m.

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Celebrate Pride with a rare glimpse into gender bending in 18th century Naples

This Sunday, June 19, Curator of European Art Dawson Carr, Ph.D., discusses the creation and cultural context of Giuseppe Bonito’s The Femminiello, an extraordinary 18th-century depiction of cross-dressing in Naples. Purchase advance tickets online, and learn more about the painting below.

Owing to social prejudice, images of gender nonconformity are extremely rare before the twentieth century. Giuseppe Bonito’s The Femminiello (1740–60), a recently discovered painting from 18th-century Naples that is now on view in our European galleries, is a testament to that city’s exceptional, long-term acceptance of local cross dressers known as femminielli.

The term, which might be translated “little female-men,” is not derogatory, but rather an expression of endearment. These beloved members of Neapolitan society come from the poorest neighborhoods of the city and are often the youngest of many children. Coddled by their mothers, they are brought up cross dressing from an early age, yet do not try to conceal their birth sex completely. Rather than being stigmatized, they are deemed special and are appreciated as almost a third sex. Most significantly, femminielli are widely thought to bring good luck. Neapolitans take them gambling and bring newborn babies for them to hold to this day.

The painting seems to represent preparations for an evening of gambling because the young man has taken off a necklace of red coral from the Bay of Naples—also thought to bring good luck—for the femminiello to wear. Social status is reflected in the femminiello’s ruddy skin, missing teeth, and goiter, then a common condition among the poor. Historians have suggested that this type of genre painting reflects theatrical performance. Certainly, Neapolitan images often feature a grinning figure looking out to engage the viewer as an actor would do. We are invited to consider the artist’s playful inversion of traditional views of gender, which contrasts the pretty face of the young male with the femminiello’s more masculine mug.

In spite of Neapolitan acceptance, this is the only known image of a femminiello before photographs made at the end of the 19th century. We are grateful to Fred Ross and the Ross Family Fund of Equity Foundation for supporting the purchase and restoration of this rare example of gender bending in the early modern period.

Reprinted from an article in the Museum’s Portal member magazine written by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.

Related Lecture
Dawson Carr will discuss the painting and its cultural context in a lecture on Sunday, June 19, at 2 p.m..

Purchase tickets

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Blue Star Museums program offers free admission to active duty military families.

Every summer since 2010 more than 2,000 museums across the country have offered free admission to the nation’s active duty military personnel including National Guard and Reserve and their families from Memorial Day through Labor Day. The Portland Art Museum has been a proud participant since 2013. The program is collaboration between the National Endowment for the Arts, Blue Star Families, and the Department of Defense.

“The Blue Star Museums program is a fun, free activity for military families to enjoy during the summer months,” said NEA Chairman Jane Chu. “The program is also a great way for service member families to connect to their new communities, and it can provide a meaningful way for families to reconnect after deployment. The Blue Star Museums program is also a perfect way for the arts community to say ‘thank you’ to our service members and their families for the sacrifices they make on our behalf, every day.”

Check out Blue Star Families for ideas to make the most of your visit.

Way Cool Creativity Contest.

Museum Parent Toolkit.

Related Event

Kick off Blue Star Museums Summer of 2016 at our Summer Celebration on Friday, June 17. This free event features paper-making with Drew Cameron of Combat Paper, music, film, photography pop-up exhibition, food, beverages, and more! “We have been interested in hosting Combat Paper for a year now, and we are excited to work with the community to create a unique artwork together,” said organizer Sarah Lampen.

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Shop Native Fashion Now designers at the Museum Store


From skateboard decks to pendants and scarves, Native Fashion Now accessories, gifts, and home goods from the designers featured in the exhibition are available for purchase at the Museum Store.

Celebrate street style with Jared Yazzie’s outspoken Native Americans Discovered Columbus t-shirt, Alona Edzerza’s bold hoodies, and Crystal Worl’s breathtaking skateboard decks. Straight out of the exhibition, bring these unique street fashions home with you.

Also on offer are one-of-a-kind, exquisite pieces that are works of art themselves. Designer Patricia Michaels, who was also featured on the show Project Runway, used her couture roots to create hand-painted silk scarfs as a way for everyone to be able to take her unique and personal art home with them.

Jewelry designers Wendy Ponca and Jamie Okuma use native materials, designs, and methods like intricate beading, raw leather, and abalone to create breathtaking accessories.

Shop these, plus many more extraordinary designs from Native Fashion Now artists. Plus, don’t forget, Museum members receive a 10% discount.

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Portland Art Museum


Native Fashion Now Artist Spotlight: Bethany Yellowtail


BY 2

Bethany Yellowtail is this week’s Artist Spotlight as a Revisitor. Native Fashion Now’s- Revisitors use age-old designs and motifs by recreating them into modern pieces that are relevant and exciting for new generations.

Bethany Yellowtail who is originally from southern Montana had a passion for fashion since she was a young girl. She later went on to study at the Fashion Institute of Design and Merchandising (FIDM) before launching her line B.Yellowtail in 2014. B.Yellowtail is inspired by Bethany’s Apsaalooke (Crow), Tsetsehestahese, and So’taeo’o heritage. Her designs celebrate her ancestral tradition and culture while emphasizing indigenous beauty though wearable art.

“I want the people who view my work to see the faces, hear the voices of our people, and participate in an authentic story that honors our diverse nations,”

“For me, my mission is not about trying to combat cultural appropriation,” Bethany explained. “I simply want to carve out a space where an authentic voice and an authentic representation of Native America exists and thrives. If that means we’re combating cultural appropriation while just being true to ourselves, then that’s a bonus.” – Bethany Yellowtail Is Redefining Native American Fashion In A Beautifully Authentic Way (Huffington Post)

See Bethany’s work and other Revisitors at Native Fashion Now.

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Portland Art Museum


Decolonizing the arts—fresh perspective from a unique conference


Courtesy of Emerging Arts Professionals - SFBA

Courtesy of Emerging Arts Professionals – SFBA

We are thrilled to feature Museum employee Candace Kita’s report on her experience at a unique arts leadership conference with a focus on discussing racial inequities and changing dynamics at cultural organizations. The Museum encourages employees across many departments to be involved in discussions, conferences, and training such as this, as we strive to be a responsive, engaging, and relevant institution for our community.

Read an excerpt below and the full post on Candace’s blog, Candita Speaks.

Decolonizing the Arts Conference: A Report from Emergence 2016

Typically, most arts conferences that I attend do not include water-pouring ceremonies, pop-up coloring sessions, or group meditations. Yet not all conferences are created equal, and I recently participated in one that included all of those activities–and then some.

A few weeks ago, I flew from Portland to San Francisco to attend Emergence 2016, the annual convening of Emerging Arts Professionals San Francisco/Bay Area. Like many conferences, Emergence seeks to connect arts and culture workers to one another to share ideas and best practices for our field. Unlike many conferences, however, Emergence is grassroots, experimental, organized predominantly by people of color, and eager to tackle topics like revolution and justice, which were at the center of this year’s theme, “Crafting Equity, Shaping Power.”

Read the full post. 

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